The Carters at the Louvre

Flanööri asked me to write about the new video by the Carters. I am not a fan of their music. I’m completely the wrong person to write about the topic, but that might make this interesting. The song sounds like it follows the common theme of bragging about how much money and stuff the artists have, which I don’t find interesting at all. Of course, all this has very little to do with music and everything to do with the video shot at the Louvre. So, I’ll put the new Death Grips album on and have a closer look at the visuals.

carters 1It begins with a very nice panning shot of the ceiling paintings in the Galerie d’Apollon. They look great in fancy lighting. We get a few close-ups of paintings I do not recognize, and then move to the Mona Lisa room with the Carters. They are dressed wonderfully throughout the video and play their part as celebrity royalty very well.

They change into white costumes and there is a wonderful shot of the Nike staircase with dancers lying on the stairs. Then, there is dancing, tilted shots of a few paintings and a bit more ceiling art. And many shots of the Carters who look very defiant in most of them.carters 2

There is more dancing and singing in front of Napoleon’s coronation, Nike and the Sphinx. There is a quick shot of David’s Sabine Women, after which the Carters take another meaningful look at the camera. I don’t know what they are trying to convey, but they look like they mean business.

carters 4Overall, there are not that many instances where our stars interact with the paintings and sculptures in a meaningful way, but I do get some of the points Sarah Huny Young writes about in her piece in Elle: that blackness is an art form in the video. There are a few shots where we see people mimicking the actions of statues, and a strange image of a man standing on a horse that somehow reproduces a Géricault painting. The latter looks interesting, because it obviously carnivalizes the original image of a Napoleonic officer. The man’s clothing mimics the stars and stripes, he’s wearing a cowboy hat, and he is standing on his horse. It would probably be my favorite image in the video were it not for another one that occurs a bit earlier.

carters 3It’s another David, his Portrait of Madame Récamier. Reclining on the floor under the painting, dressed in headgear that echoes the madame’s dress, are two women who also seem to recreate the symmetry of the strange sofa of the painting. There is a morbid parody of the painting by Magritte where the madame has been replaced by a coffin. I would have loved to have seen it in the background instead of the original. In any case, the Neoclassical dress and general setting of the image point to an idealized version of Ancient Greece, the socialite madame to contemporary ideals of beauty. The two ladies point to something else.

The Carters’s strange poses, defiance, intentional vulgarity (the song is called “Apeshit”) and all the rest of it seem to be aimed at creating a new standard of beauty through a commentary on European aesthetics. The plan still rests on the tradition it criticizes, but the critique does remind us of everything that has contributed to it, and of the fact that it’s still an ongoing tradition. The pieces in the Louvre are not preserved in the past. They are here with us in the present.

I guess that’s what I take home from this: aesthetics is never a theoretical exercise and always entangled with history. To quote Death Grips: “It’s a shitshow.”

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