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But, as the song's "can't believe we made it / this is what we're thankful for" refrain makes clear, it's simultaneously a celebration, a reclamation of cultural space, and a transformation of cultural space. It pays tribute to the historic struggles and sacrifices made by - or, more often, forced upon - the black community, as well as those injustices still apparent today (consider the scenes at 3:30 and 4:40 in the video juxtaposing protests and the #TakeAKnee movement). The video showcases highlights of the museum's collection to weave a narrative of black empowerment and excellence, as both a representation of and response to the artworks featured. (Let's hope there was a good mood board presentation involved?) "The deadlines were very tight, but the Louvre was quickly convinced because the synopsis showed a real attachment to the museum and its beloved artworks."Īnd let's be clear, "Apeshit" is a work of art itself. "During their last visit in May 2018, explained their idea," a Louvre spokesperson told Vulture. Also, the whole project was somehow kept totally secret!
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And sure, everything was love fine, because I mean, who had plans over the weekend anyway?! Oh, and on top of the nine track-long record (10 if you count bonus track "Salud," I suppose) Bey and Jay also debuted a video for "Apeshit," which they shot IN THE LOUVRE, having been granted private access to the museum for filming. The protests had caused the museum to close on one Saturday only, it said.Beyoncé and Jay-Z - or The Carters, technically - dropped a surprise album, Everything is Love, on Saturday night. The museum said the gilets jaunes anti-government demonstrations in central Paris in late November and December had not affected visitor numbers. The museum also said the rise in visitors had been helped by the vast refurbishment of the entry and ticket office, funded in part through agreement with the Abu Dhabi branch, as well as online ticket sales that had reduced waiting times. This year’s unprecedented Leonardo da Vinci exhibition – part of a Europe-wide commemoration of the 500th anniversary of the Renaissance master’s death – is expected to attract large numbers. The museum’s success in 2018 was also helped by major exhibitions, in particular a spectacular retrospective of the 19th century artist Eugène Delacroix. This year the museum is hoping to bring in more young visitors by adding free night-time visits on the first Saturday of the month.
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“The Beyoncé video, like the opening of the Louvre museum in Abu Dhabi, ensured that the Louvre was talked about across the world, and one of the consequences of that is the spectacular rise in visitor numbers last year.” “It’s clear that 2018 was a remarkable year for the international reputation of the Louvre,” the museum’s director, Jean-Luc Martinez, told French radio. It led the museum to create a special visitor guide based on the video, which was a success and gave the permanent collection what one museum worker called the feeling of a “cool brand”. The video, viewed more than 150m times online, was seen as an important comment on the representation of power in art, and on race and colonialism, as well as being a conversation starter for young visitors. The power couple stepped out in style at the premiere in NYC. View image in fullscreen A still from the video for Apeshit, featuring the Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine (1804), by Jacques-Louis David.