We argue that The Carters embrace the role of the public intellectual-activist - assumed to be within the remit of the Western, White, liberal intellectual for centuries. resistance against the enduring ‘coloniality of power' in the European museum and elsewhere in the public sphere. Against the backdrop of calls for decolonizing archives and public institutions such as the university and the museum, and arguing for the political potential of APESHIT, this article makes a case for the music video as an act of. This article offers a reading of the APESHIT music video by the duo The Carters (Beyoncé and Jay-Z) as an Afrosurrealist intervention in the White space of the Louvre. Therefore, I especially attend to the dialogues the film stages, not only between people but also between texts, media, artworks, and artforms. Dialogue, I argue, stands at the heart of this vision. Analyzing the film and bringing it in dialogue with other texts by and about Morrison, I examine the ways in which the documentary weaves and modulates the notion of the public intellectual Morrison represents. In this article, I discuss the documentary’s cinematic representation of Toni Morrison as a postcolonial intellectual, exploring its treatment of her as object of filmmaking, and inquiring into the ways in which this contributes to revisiting notions of aesthetic engagement and political intervention into the public sphere. It experiments with form to further public dialogue about citizenship, belonging, the legacies of slavery, and the power of art, articulating interviews, archival film footage, animation, and music in a homage to and amplification of Morrison’s intellectual and artistic vision.

The Foreigner’s Home is a documentary film that is grounded in footage shot at the Louvre in November 2006, when the African American writer and Nobel Prize winner Toni Morrison was guest-curator at the famous Parisian museum.

The foreigner's home toni morrison