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Blues Klair. Vincent Meessen
Table of Contents,Vincent Meessen. Blues Klair
Ultramarine, 2018, view of the installation, Montreal
Ultramarine, 2018, Kain the Poet
Ultramarine, 2018, Lander Gyselinck
Harmony Holiday, “Let the Blue Name the Blues”
Discordia, 2018
Index, 2018 - Rosie Douglas and Walter Rodney, around 1968, Montreal
Eric Fillion, « Patrick Straram Blues Clair X Blues Clair »
Open

February 2021

Edited by Vincent Meessen and Michèle Thériault

Texts: Corinne Diserens, Eric Fillion, Harmony Holiday, Vincent Meessen, Matthew Quest and Michèle Thériault.

Publisher: The Leonard & Bina Ellen Art Gallery in partnership with The Power Plant Contemporary Art Gallery

Design: Speculoos, Brussels

18 x 24 cm, lay flat binding, 312 p. ill., English, French
ISBN – 978-2-924316-19-1

Price: $ 40.00

This publication accompanies the exhibition project VINCENT MEESSEN. BLUES KLAIR

A poetic, formal, rhythmic, and discursive immersion in the colour of history,Vincent Messen. Blues Klair attempts to elucidate Western colonial modernity’s urges to conquer, classify, and immortalize. Numerous illustrations and texts by Corinne Diserens, Eric Fillion, Harmony Holiday, Vincent Meessen, Matthew Quest and Michèle Thériault revisit elements of this exhibition that examines three journeys of exile at the end of the 1960s : that of Gylan Kain, the African-American poet precursor of rap at the end of the 1960s, of the writer and critic Patrick Straram living in exile in Montreal in the late 1950s and of the Caribbean students involved in a racial uprising at Sir George Williams in the late 1960s. Voices, sounds, and shapes calling for a blues of exile, a poetics and a politics dedicated to the harmonics of difference.