Vincent Mousseau

@vincentmousseau.net

896 Followers 401 Following

Black studies, care work, and abolition—toujours en mouvement. PhD(c) @dalhealth.bsky.social, but the work exceeds the academy. 📍 Tiohtià:ke (Montréal) 🌐 linkna.me/vincentmousseau.net

Les inscriptions sont fermées pour le moment. Capture d'écran de la page Kominoté sur le site de RÉZO, montrant le nom du programme, sa description comme groupe de soutien par et pour les hommes Noirs et afro-descendants gais, bisexuels, queers et autres HARSAH, et en bas de page, en grand : « Les inscriptions sont fermées pour le moment. »
Title page of a doctoral dissertation. Text reads: “Illegible, Not Invisible: Speculative Care, Fugitive Method, and Black Queer Health Beyond Recognition, by Vincent Mousseau. Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at Dalhousie University, Halifax, Nova Scotia, July 2026. Dalhousie University is located in Mi’kma’ki, the ancestral and unceded territory of the Mi’kmaq. We are all Treaty people. © Copyright by Vincent Mousseau, 2026.” White text on dark background.
A pair of black platform Chelsea boots standing upright on a rectangular paver sidewalk beside a storm drain, on a quiet urban street in early morning light. A red brick building runs along the left side; a green waste bin sits to the right. Cars are visible in the distance. The boots are unoccupied, placed upright and facing forward at the center of the frame.
A photograph split between two planes of focus. On the left, a tiled wall with one tile removed, leaving a recessed rectangular gap. Someone has painted directly onto the exposed surface behind the missing tile: a bare-branched tree in warm browns and reds, with small touches of green foliage and a blue bird on a lower branch. Handwritten text in black marker occupies the upper portion of the gap in two sections: “I’M SORRY I SIT HERE” on the left, and “THIS PLACE HAS SEEN MY BEST MY WORST MY ART MY WORDS MADE THROUGH WINTER TO SPRING SUMMER AND FALL” on the right. The intervention is small enough, contained to a single tile’s worth of space, which makes it feel both hidden and deliberate. On the right side of the frame, through a rain-streaked window, an urban street scene is visible: a red-and-white striped wooden planter box, tall ornamental grass, a yellow chair in the foreground, and blurred pedestrians and city buildings in the wet grey background.
Vincent (that’s me!) sits on concrete steps against a white stone building, wearing an all-black hoodie with a monogram logo from Artgang Montréal that looks like the NY Yankees logo but with MTL instead, black cargo pants, and round sunglasses. They have curly dark hair, a beard, and a septum ring, and are holding up a peace sign with one hand and a phone in the other. A crossbody bag strap crosses their chest. They are smiling softly at the camera.​​​​​​​​​​​​​​​​
Un livre posé sur une table en bois, à côté d’une tasse de café dans une soucoupe bleu-gris. La couverture présente un motif géométrique coloré en rouge, orange, bleu et saumon. On y lit : Norman Ajari, Le Manifeste afro-décolonial : le rêve oublié de la politique radicale noire, publié aux éditions Seuil dans la collection « La couleur des idées ».​​​​​​​​​​​​​​​​
A candid outdoor portrait shows Vincent, a person with a beard and moustache wearing round sunglasses, a black baseball cap worn backward, a silver septum ring, and a heavy silver chain. They are dressed in a black hooded bomber jacket and a black and white keffiyeh draped over their shoulders. They are looking up and away with a subtle smile under a cloudy sky. The Montréal skyline is faintly visible on the other side of the water.
Black and white photograph of the Daniel McAllister, a historic tugboat, docked at the entrance to the Lachine Canal in the Old Port of Montréal. Built in 1907 and now the largest preserved tugboat in Canada, the vessel sits low in the frozen canal, its dark hull ringed with rubber tire fenders and “DANIEL McALLISTER” lettered in white across the bow. Behind it, a massive derelict industrial building, some of the old grain elevators, dominates the left side of the frame. The sky is heavy with clouds. Bare winter trees and a cobblestone promenade with metal railings line the right edge. A few pedestrians are visible in the far background.​​​​​​​​​​​​​​​​
Gag or chop? It’s a chop, mama 😍
Vincent sits on a wooden bench outdoors near Montréal’s Old Port in winter, leaning forward with hands loosely clasped. All black: puffer jacket with hood, jogger pants, lace-up boots. A black and white keffiyeh is draped around their neck, a durag pulled back on their head. Round tinted sunglasses and a septum ring. Snow on the ground and bench around them. Behind them, bare trees and a modern residential building against a clear blue sky. The light is sharp, mid-day.​​​​​​​​​​​​​​​​
Vincent takes a mirror selfie holding a black iPhone with a PopSocket-style device. They wear a black hoodie printed with a figure in a keffiyeh giving a peace sign, with Arabic text below. A silver chain is visible at the neckline. They have curly dark hair, a full beard, a nose ring, and a white AirPod in the visible ear, with an Apple Watch on their wrist. Behind them, several framed prints hang on a white wall.​​​​​​​​​​​​​​​​
A photo of Vincent wearing a classic tuxedo, holding roses and foam hearts.
Meme showing a close-up of Maya Angelou holding a silver handgun beside her face, with bold white text over the image reading, “I SAID still I rise.”
Animated image of Meg Griffin from Family Guy riding an absurd, overengineered bicycle made of horns, gears, pipes, and wheels. The contraption looks loud, chaotic, and impractical, with multiple parts moving at once as she pedals.
Dark promotional poster with a photograph of Vincent Mousseau speaking at a podium into a microphone, facing slightly to the right, against a black background with purple and gold accents. Large purple headline text at top left reads: “PRACTISING CARE WITHOUT PERMISSION: BALLROOM, KIKI, AND COLLECTIVE SURVIVAL.” Below, white paragraph text reads: “Join us for a public lecture that explores how people learn to take care of each other when support is unstable or unreliable. Drawing on doctoral research and community-based work with Black queer and trans communities, Vincent Mousseau reflects on care as something practised over time through relationship, attention, and shared responsibility.” On the right side, gold paragraph text reads: “The lecture centres ballroom culture as one place where these practices have been developed and passed on. In these spaces, care is learned by showing up, staying through difficulty, and responding to what others need in the moment. Introducing the idea of speculative care, the lecture invites listeners to reflect on how care already circulates in their own lives and communities, often quietly and without formal recognition.” A purple button in the top right corner reads: “REGISTER TODAY!” At the bottom left, date and time information reads: “12th FEB” “6PM–8PM” Below that, location text reads: “Room 1020, Kenneth C. Rowe Management Building 6100 University Avenue, Halifax, NS” At the very bottom left is the Dalhousie University logo with the text “DALHOUSIE UNIVERSITY.” Near the bottom centre is a small heart-shaped logo with layered geometric stripes making up the Progress Pride flag.
A video of Moose Sankofa’s debut at the MDNA Platinum Pride ball in Tiohtià:ke.
A person with medium-dark skin, a short curly fade hairstyle, a full beard, and a septum piercing is sitting at a table with an orange takeaway coffee cup in front of them. They are wearing a fitted black t-shirt, a silver chain necklace, and a black smartwatch with a rainbow watch face. The lighting is bright and natural, casting soft shadows. Framed abstract artwork is visible on the wall behind them. The person gazes directly into the camera with a calm, slightly inquisitive expression.
Texte noir sur fond blanc, extrait d’un livre ou projet écrit. Le chiffre « 21. » apparaît en gras en haut, suivi d’un fragment poétique en français : La terre n’a pas besoin de gardiens qui ne savent que se servir. L’État trace ses frontières comme on trace des cicatrices. Ce qu’il appelle protection laisse toujours une marque.
A smiling person with a beard and septum piercing takes a selfie outdoors on a sunny day. They are wearing sunglasses, a black durag, a chunky silver chain, and a black t-shirt with “GYMSHARK” written on it. They hold a matte black travel mug in one hand and flash a peace sign with the other. A backpack strap is visible on one shoulder, adorned with a yellow Moose Hide Campaign pin. Behind them is a red brick building, white flowers, and a leafy tree casting dappled shade on the sidewalk.
A slightly worn copy of The Undercommons: Fugitive Planning & Black Study by Stefano Harney and Fred Moten lies partially open on top of a closed silver MacBook. The book’s black and white abstract cover image curves upward, hinting at regular use. The background is a light wooden surface, suggesting a casual, everyday study or work setting.
Two clear tip jars are displayed on a red counter, each with a playful sign written in French, part of a humorous “tip battle.” The left jar’s sign reads, “Avoir un orgasme à chaque fois que tu entends ‘Oh… Djadja’?” which means “Have an orgasm every time you hear ‘Oh… Djadja’?” The right jar’s sign says, “Crier ‘Oh… Djadja!’ à chaque fois que tu as un orgasme?” meaning “Shout ‘Oh… Djadja!’ every time you have an orgasm?” The joke references the popular 2018 French song “Djadja” by singer Aya Nakamura, which features the memorable lyric “Oh… Djadja.” The signs are cheerfully decorated with stars, hearts, and dots, encouraging customers to tip by voting for their preferred absurd scenario.
A blooming lilac bush with clusters of small, fragrant purple flowers surrounded by dense green leaves. Sunlight filters through the foliage, creating a dappled light effect. In the background, there is a black metal fence and partial view of a brick building, indicating an urban garden setting.
A person with a shaved head and close-cropped beard, Vincent, stands at the centre of a picket line, holding a megaphone to their mouth mid-speech. They wear a fluorescent orange safety vest over a white T-shirt and have a backpack and rolled-up papers in one hand. A circular pin and several stickers are visible on their vest. Behind them is a group of striking teaching assistants standing against the wall of a university building with tan stone tiles. Several hold protest signs, including “Equal Work Equal Pay,” “Living Wages for Working Here,” and a QR code flyer that says, “Support Your TAs.” The atmosphere is calm but resolute, with participants dressed for cool weather. The image captures a moment of organized labour action and collective resistance on a university campus.
Une personne marche au centre d’un ballroom, tenant une enveloppe brune et portant un costume bleu marine élégant. Elle est entourée d’un public enthousiaste assis de chaque côté, applaudissant et prenant des photos. L’éclairage est violet et vert, créant une ambiance vibrante et festive.
A video of Vincent walking executive realness a kiki ball in Tiohtià:ke/Montréal. They are wearing an all black tuxedo with an all black keffiyeh draped over it. Their hair is braided and they are walking confidently toward the panel of judges. Folks are yelling, smiling, chanting, taking videos and photos.
Azealia Banks on The Breakfast Club saying, “So… what now?”
This image shows a group of masked individuals holding a banner that reads “OUR PEOPLE OUR HOME OUR FUTURE.” The flags and visual symbols visible in the image are commonly associated with white nationalist or fascist groups. The photo was taken at the cenotaph at Sullivan's Pond in Dartmouth. The image is watermarked with “NOVA SCOTIA BUZZ.”
A hand-drawn illustration of a smug-looking grey tabby cat wearing a large pink bow. The cat is sitting with eyes closed, looking content. To the right of the cat, bold black text reads: “therapy isn’t enough i need to bite people.” Small sparkles accent the background, adding a whimsical touch to the chaotic-cute vibe.
Vincent sits at a bar with a friend, their arm draped over his shoulder. The warm glow of hanging lights reflects in a large circular mirror behind them, adding to the cozy ambiance of the space. Vincent wears a black T-shirt and a silver chain, while his friend sports an olive-green button-up shirt, a white tee, and multiple silver rings. A tall glass with a lime garnish and straw sits on the table in front of them. The bar in the background is stocked with bottles, and city lights are visible through the large windows, hinting at the nightlife outside.
Azealia Banks speaking into a megaphone pointed directly at a microphone
Vincent walks Executive Realness at a kiki ball, dressed in a sharp navy blue suit, white shirt, and red tie, holding a manila envelope. They stride confidently down the runway, embodying the polished and authoritative aesthetic of the category. The audience, dressed in bold and expressive looks, claps and cheers, some capturing the moment on their phones. The venue is illuminated by neon lighting in shades of blue, purple, and green, casting an electric glow over the industrial-style space with exposed concrete pillars. The atmosphere is charged with energy, reflecting the vibrancy of the kiki ballroom scene.
Yakko Warner from Animaniacs sits in a dimly lit kitchen, holding a mug in one hand and a tablet in the other. They have a tired, unamused expression, with drooping eyes and a slightly furrowed brow. A steaming coffee pot sits on the counter beside them, reinforcing the groggy, early-morning mood. The character is dressed in a muted green hoodie, contrasting with their usual attire, giving them a more casual, fatigued appearance.
Vincent walking executive realness at a kiki ball. They got their 10s, and the crowd loved it!
A snowy urban scene featuring a bus stop shelter with an advertisement reading “CÉGEP de ROSEMONT” and a Bixi bike share station partially buried in snow. A smaller ad on the left shows an illustration of a bundled-up cyclist with the text “À demain, Bixi.” Two people, one in a dark coat and the other in a bright pink snowsuit, walk along a snow-covered path in the background. Behind them, a colorful graffiti mural and a row of small businesses line the street. The sky is clear, with bright sunlight casting sharp shadows on the snow.
Mother Toshiro Sankofa demonstrates a runway walk at a workshop. A group of participants are masked and watching attentively.
Un livre intitulé Manifeste pour l’éradication de la discrimination raciale – Déclaration d’Halifax est posé sur les genoux de la personne qui prend la photo. La couverture du livre présente une sculpture de Sankofa, un symbole adinkra représentant un oiseau tourné vers l’arrière avec un œuf doré dans son bec. En arrière-plan, une botte noire repose sur une chaise, et une table basse en bois est visible avec deux tasses blanches portant un logo noir. L’ambiance suggère un espace de détente.
Vincent Mousseau takes a mirror selfie in a well-lit room, wearing a black zip-up hoodie, black cargo pants, and a white and black keffiyeh draped over their shoulders. They have a neatly braided hairstyle, a well-groomed beard, and are wearing black over-ear headphones and a silver chain necklace. Vincent holds a phone in one hand and has the other casually tucked into their pocket, smiling subtly. The background features framed artwork on the wall, a green plant, and a cozy, organized living space.
Beyoncé, wearing a shimmering gold gown with intricate patterns and matching gloves, sits at a table at the 2025 Grammys with a shocked expression. Her long, platinum blonde hair cascades over her shoulders. The background shows a large audience, bright stage lights, and Jay-Z seated behind her clapping. A bottle of water and a floral arrangement are on the table. This moment captures her reaction after winning Country Album of the Year.
A mirror selfie of Vincent Mousseau wearing an all-black outfit, accessorized with a white keffiyeh with black stitching, a silver chain necklace, a black beanie, and glasses. They have a conference badge hanging from a blue lanyard. The background features framed artwork, warm lighting, a neatly arranged corner with books and storage, and a visible portion of their kitchen.
A mirror selfie of Vincent wearing a light gray suit with a black crew neck sweater underneath. They have a neatly braided hairstyle, a well-groomed beard, and are accessorized with a silver chain necklace, glasses, and a kente-patterned lapel pin. Vincent is posing with one hand adjusting their suit jacket while holding their phone in the other. The background includes framed artwork, books, and a plant, creating a cozy yet professional atmosphere.
A screenshot of an email with the subject “Good News Update: Comp #1 - Pass.” The email is addressed to Vincent and informs them that the PhD committee has reviewed their first comprehensive paper and agreed that they have “PASSED.” The sender, Terry, thanks Vincent for their excellent work and congratulates them. The email also mentions that an official approval message will be sent later in the week, along with committee recommendations for the next comprehensive paper. Terry apologizes for the delay in the decision notice, explaining that they were feeling unwell the previous evening and needed to rest. The email ends with “Peace, Terry.”
A narrow suspension bridge with a metal mesh railing stretches forward, surrounded by dense green trees. The bridge is dusted with snow, creating a serene winter scene in the middle of a forest.
A portrait of Vincent, wearing a black hoodie and looking directly at the camera with a calm expression. Their septum piercing adds a subtle touch of individuality, while soft lighting highlights their face. The background features blurred elements, including green plants and framed posters, creating a warm and inviting atmosphere.
Vincent crouches in front of a mirror, wearing a black Dalhousie University hoodie, grey sweatpants, and white socks. They hold a phone with a PopSocket-like device, looking into the mirror with a calm expression. Behind them, a modern kitchen with a stainless steel fridge decorated with magnets and a vibrant green monstera plant adds warmth to the scene.
A well-organized workspace with an iMac displaying open documents and academic text, alongside an iPad showing more text in split-screen mode. A book titled “There’s a Disco Ball Between Us” is propped on the desk near a cup of coffee on a saucer. Fresh white flowers in a vase add a touch of brightness, while a bookshelf and framed posters, including “The Police,” are visible in the background. A notepad with handwritten notes lies nearby, creating a productive yet inviting environment.
A person with neatly styled braids and a trimmed beard poses for a selfie in front of a mirror, holding up a peace sign with one hand. They are wearing a black hoodie with colorful floral designs and text. A septum ring is visible, and their expression is soft, with a slight smile. Their phone is visible in the reflection, showing a protective case. The background includes a framed image and part of a wall hanging.
A yellow funicular ascends a steep cobblestoned street in Lisbon, lined with historic buildings featuring wrought-iron balconies. Overhead, electrical wires connect to the funicular. The street slopes down toward a view of the Tagus River and the cityscape in the background under soft daylight.
A waterfront view in Lisbon featuring gentle waves rolling onto a stone-paved shoreline. In the background, the iconic Christ the King statue stands atop a hill, with the 25 de Abril Bridge partially visible under a clear blue sky.
An urban winter scene in Montréal, featuring a snow-covered area with parked cars, buildings, and construction equipment. A green-domed structure is visible in the background, with graffiti on a railing in the foreground. Overcast skies loom above, casting a muted light over the landscape.
A smiling person standing outdoors, wearing a black jacket with a fleece-lined hood, a patterned black-and-white keffiyeh scarf, and a chain necklace. They have a beard, curly hair, and a septum piercing. In the background, there are blurred buildings, trees, and a hint of greenery, suggesting an urban setting on a crisp day.
A group of Haudenosaunee elders and student activists of various ages posing around a planted young pine tree. The tree is encircled by soil, stones, and purple and white gravel. A wooden plaque is placed beside the tree. In the background, a crowd of people is gathered on McGill’s Lower Field with trees and buildings visible.
Vincent is presenting a slide deck titled "Kiki as Resistance", wearing an all-black outfit with a graphic tee that says "be gay do crimes" and a white and black keffiyeh.
Bye, Ashy!