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Cet ouvrage prolonge la réflexion amorcée par Vincent Meessen dans l'exposition Blues Klair devenu un lieu d'une mise à l'épreuve de l'Histoire au présent. Une série d'essais sonde l'actualité des survivances héritées de la réalite coloniale, des alliances et métissages dans le temps et l'espace à travers le filtre de la couleur bleue. Immersion poétique, plastique, rythmique, et discursive dans la couleur de l'histoire, Blues Klair tente quelques pistes d'élucidation des pulsions de conquête, de classification et d'embaumement propres à la modernité coloniale occidentale. De nombreuses illustrations et plusieurs essais inédits revisitent les composantes de cette exposition articulée autour de trois parcours d'exils : afro-americain, européen et caribéen à la fin des années soixante. Des voix, des sons, des formes reclament le blues de l'exil, poétique et politique dediées aux harmoniques de l'écart. Publié suite à l'exposition éponyme à la galerie Leonard & Bina Ellen, Universite Concordia, Montreal, en 2018. Les travaux de Vincent Meessen (né en 1971 à Baltimore, vit et travaille à Bruxelles) portent sur la construction de la modernité occidentale, entre réalisme et rhétorique coloniale. A travers différentes formes médiatiques (vidéo, installation, impression, musique...), il remet en lumière des pans oblitéres de la mémoire coloniale. L'opposition entre fait et fiction, l'interêt pour le récit spéculatif ou pour nos facultés d'interpretation sont autant de motifs récurrents au sein de son travail artistique et para-curatorial.

Meessen, Vincent, --- Colonialisme --- Meessen, Vincent --- Art, Modern --- History in art --- Colonization in art --- Exiles in art --- Blues (Music) in art --- Meessen, Vincent, - 1971- - Exhibitions --- Meessen, Vincent, - 1971- - Expositions --- Meessen, Vincent, - 1971 --- -Meessen, Vincent, - 1971 --- -Colonialisme --- -Art, Modern

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This publication documents the three editions of Patterns for (Re)cognition, an exhibition comprising various duos with Tshela Tendu conceived by Vincent Meessen: at KIOSK (Ghent, 2013), Kunsthalle Basel (2015), and BOZAR (Brussels, 2017). It also offers new perspectives on the reception of this assemblage that was intended to cast a contemporary eye on the abstract works that the Congolese artist, Tshela Tendu – better known until now by the name of Djilatendo – painted in the period between 1929 and 1932. The book brings together for the first time all of Tshela Tendu's geometric abstractions, most of which are completely unknown to the public. Their presentation is discussed in a series of dialogues that Vincent Meessen conducts with artist and curator Toma Muteba Luntumbue, publisher Guy Jungblut, curator Elena Filipovic, ethnohistorian Jan Vansina, and art historian Yasmine Van Pee. Through a polemic approach to abstraction, which is perceived, beyond its formal aspects, as both an epistemic issue and a power matrix, Vincent Meessen proposes a 'para-curatorial' operation that casts light on a blind spot in colonial modernity. The book was first presented featuring a round table discussion on 8 September 2017, with Morad Montazami discussing the themes broached in the exhibition and publication, together with Vincent Meessen, Toma Muteba Luntumbue, Yasmine Van Pee, researcher-curator Bambi Ceuppens and art historian Kathrin Langenohl.

kunst --- 75.071 TENDU --- 7.071 MEESSEN --- video-installaties --- installaties --- schilderkunst --- Meessen Vincent --- postkolonialisme --- kolonialisme --- Djilatendo --- Congo --- België --- abstractie --- abstracte schilderkunst --- twintigste eeuw --- eenentwintigste eeuw --- Tendu Tshela --- Exhibitions --- Tendu, Tshela --- Meessen, Vincent --- Art, Abstract --- Meessen, Vincent, --- Tshyela Ntendu, --- Tendu, Tshela & Meessen, Vincent

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This book is the fourth volume in Vincent Meessen's publication series Prospectus and published following the artist's solo exhibitions 'Sire, je suis de l'ôtre pays' at WIELS, Brussels, in 2016, and 'Omar en mai' at Centre Pompidou, Paris, 2018. The book is structured around the four major installations One. Two. Three, SIISIS, Wild Architect, and Cinéma Omarx that made up these shows, and are placed in parallel with newly commissioned essays by scholars Pedro Monaville, Stefano Collicelli Cagol, and Ruth Baumeister, and an in-depth conversation between Tom McDonough and Vincent Meessen. At the heart of these contributions are the untold histories and unexpected topicality of the Situationist International, modernity's last international avant-garde, which reconsidered so radically the relationships between art, politics, and everyday life. Previously unpublished texts and reprints by Guy Debord, Lungela Diangani, and Omar Blondin Diop explore in particular the Situationist International's influence in black African countries, such as the Democratic Republic of Congo and Senegal. Installation views of the exhibitions show furthermore how Meessen uses original documents in order to re-evaluate their political potential in the present. As such, the book generously reflects on the artist's discursive, collaborative, and para-curatorial activity of the past four years.

kunst --- twintigste eeuw --- eenentwintigste eeuw --- 7.071 MEESSEN --- Marinotti Paolo --- Le Corbusier --- Jorn Asger --- utopie --- installaties --- kunst en politiek --- Meessen Vincent --- postkolonialisme --- kolonialisme --- Congo --- België --- situationisme --- Meessen, Vincent --- 7.07 --- Exhibitions --- Kunst en maatschappij ; 1e helft 20e eeuw ; V. Meessen --- Senegal --- Afrika --- Meessen, Vincent °1971 (°Baltimore, Verenigde Staten). Woont en werkt in Brussel --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Meessen, Vincent, --- Art --- installations [visual works] --- colonization --- video art --- songs [documents] --- research [documents] --- ideal cities --- political art --- globalization --- Situationist International --- songs [musical compositions]

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Kleyebe Abonnenc, Mathieu ; Baloji, Sammy ; Beckett, James ; Benassi, Elisabetta ; Bernier, Patrick ; Martin, Olive ; Guimaraes, Tamar ; Akhoj, Kasper ; Jafri, Maryam ; Pendleton, Adam ;

colonization --- animism --- postcolonialism --- art [fine art] --- Art --- Situationist --- Guimarães, Tamar --- Martin, Olive --- Abonnenc, Mathieu Kleyebe --- Akhøj, Kasper --- Beckett, James --- Bernier, Patrick --- Baloji, Sammy --- Meessen, Vincent --- Benassi, Elisabetta --- Pendleton, Adam --- Jafri, Maryam --- Congo --- Africa --- Manifestation artistique --- Colonialisme --- Art contemporain --- Histoire --- Venise --- Afrique --- kunst --- Frankin André --- situationisme --- 7.071 MEESSEN --- Pendleton Adam --- Jafri Maryam --- Kasper Akhoj --- Guimaraes Tamar --- Martin Olive --- Bernier Patrick --- Benassi Elisabetta --- Beckett James --- Baloji Sammy --- Abonnenc Mathieu Kleyebe --- concept art --- conceptuele kunst --- postkolonialisme --- kunst en politiek --- kolonialisme --- Meessen Vincent --- eenentwintigste eeuw --- België --- Biënnale van Venetië --- Biennale di Venezia --- Exhibitions --- Art, Modern --- Meessen, Vincent, --- African diaspora --- art [discipline]

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Art --- art [discipline] --- Meessen, Vincent --- Aerts, Nel --- Herman, Gerard --- Jurczak, Dorota --- Nys, Sophie --- Ancart, Harold --- Wächtler, Peter --- Auer, Abel --- Kristensen, Steinar Haga --- Saintagnan, Eléonore --- Abeele, van den, Michael --- Foulon, Olivier --- anno 2000-2099 --- Belgium