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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:03:01
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<p>Coming In from the Cold</p>
Description
An account of the resource
<img title="
Coming In from the Cold" src="https://pierreyvesclouin.fr/files/original/ad1290e003e1714be6552ac90aea9c20.jpeg" alt="" width="400px" /><br />
<p><strong>you can see the movie at the bottom of the page</strong><br /><br />5 November, 3pm, 3°C, Ottawa</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-11-05
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Ottawa
Bob Marley
café
Ottawa
People
-
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
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215647
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
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Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:38:47
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<p><em>Je suis un indien Pontiac</em> (I'm a Pontiac Indian)</p>
Description
An account of the resource
<img title="Je suis un indien Pontiac (I'm a Pontiac Indian)" src="https://pierreyvesclouin.fr/files/original/577741963a05a5152edc38c8a6c4f12c.jpeg" alt="" width="400px" /><br />
<p><br /><strong>you can see the movie at the bottom of the page</strong><br /><br />This film was shot during a <a title="Institut français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">Institut français, Hors les Murs Program (section film, video, cinema), arts residency</a> in Montreal, Canada, in the summer of 2010. The project is a chronological record, each scene engendering the next. Working without written notes of what I shot, I recorded over 10 hours of video merely keeping in mind that the order in which everything was filmed had provoked what I was currently shooting. Returning to Paris for editing, I sorted my footage in repeated viewings. I had to find an atmosphere, a rhythm, a current, from scene to scene, that seemed compelling, a flow that underlied the shooting. This binding element is like an arc that was built up slowly, as the project progressed. It is an arc that brings together two images that are strictly unrelated, and makes one follow naturally on the other — a group of men, for example, casting a sidelong glance at a passing police car on a bridge at night, followed by a human foot that seems to emerge from a tree trunk in broad daylight and kick in rhythm. With each viewing, I preserved only those scenes that seemed most closely to fit this arc and eliminated everything else, all the while preserving the exact chronology of the shooting sequence. What remans is 39 minutes of video in 73 scenes.<br /><br /><em>J’ai fait ce film durant une résidence <a title="Institut français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">Institut Français programme Hors les murs section Film vidéo cinéma</a>, à Montréal l’été 2010. Le projet est un enregistrement chronologique, chaque scène ayant engendré la suivante. Sans avoir de note sur ce que j’avais filmé, j’ai tourné une dizaine d’heures avec à l’esprit l’idée que l’ordre dans lequel tout était filmé provoquait ce que j’étais en train de filmer. Au montage en rentrant à Paris, j’ai fait un tri par passages successifs. Il a fallu retrouver une atmosphère, un rythme ou un flux qui semble s’imposer de lui même entre les images, flux qui était sous tendu au tournage. Ce liant, c’est comme une courbe qui s’est construite au fur et à mesure. Cette courbe fait que deux images qui n’ont strictement rien à voir — d’abord un groupe d’hommes qui observe du coin de l’oeil une voiture de police qui passe sur un pont la nuit et puis un pied qui semble sortir d’un tronc d’arbre et qui bat en rythme, le jour — que ces deux images donc se succèdent évidemment. J’ai gardé à chaque visionnement les images au plus près de la courbe et éliminé tout ce qui lui était étranger, mais en conservant l’exacte chronologie du filmage : Il reste 39 minutes en 73 plans.</em></p>
<p><strong>exhibitions and screenings of "Je suis un Indien Pontiac":</strong></p>
<p><strong>2010</strong></p>
<p><a title="art star biennal, ottawa" href="http://pierreyvesclouin.fr/items/show/111">Art Star Biennal</a>, Saw Galery, Ottawa, Canada (consultation)</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-10-10
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Montréal
cars
city
day
fireworks
garden
Montréal
night
People
sky
street
-
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:00
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Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>La baignoire</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-10-15
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Montréal
Description
An account of the resource
<img title="La baignoire" src="https://pierreyvesclouin.fr/files/original/a3e02a28db6c8add1cdd885a7829d6bc.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong><br /><br /><br />extract from <a title=""Je suis un indien Pontiac" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/26" target="_self">Je suis un indien Pontiac</a>
bathtub
Montréal
night
People
reflection
street
-
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:13:23
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<p><em>Une fois Mars colonisée (</em>Once Mars Is Colonized)</p>
Description
An account of the resource
<img title="
Une fois Mars colonisée (Once Mars Is Colonized)" src="https://pierreyvesclouin.fr/files/original/20e1fd415303c5e9260bd71b394ee2de.jpeg" alt="" width="400px" /><br />
<p><strong>you can see the movie at the bottom of the page</strong><br /><br /><br />Once Mars is colonized, we must go to Alpha Centauri. - Ray Bradbury<br /><em>une fois mars colonisée, nous devons aller sur Alpha du Centaure. -</em> Ray Bradbury</p>
<p class="paragraph_style"><strong><span class="style_1">exhibitions and screenings of ” Une fois Mars colonisée”:</span><span class="style_3"><br /></span></strong></p>
<p class="paragraph_style"><strong>2012</strong></p>
<ul>
<li><a class="style_4" title="http://projectgreen2011.wordpress.com/" href="http://projectgreen2011.wordpress.com/">Project Green </a><span class="style_5">Screening, organized by </span><a class="style_4" title="http://nomadfilms.net/" href="http://nomadfilms.net/">Nomad Films </a><span class="style_5">, Althinsalen Theater at </span><a class="style_4" title="http://www.tekniskamuseet.se" href="http://www.tekniskamuseet.se/">Tekniska Museet</a><span class="style_5">, Stockholm, Sweden </span></li>
</ul>
<p class="paragraph_style_1"><strong><span class="style_5">2011</span></strong><span class="style_6"><br /></span></p>
<ul>
<li><a title="http://www.chicagofilmmakers.org/onion_fest/onion3_schedule.html" href="http://www.chicagofilmmakers.org/onion_fest/onion3_schedule.html"><span class="style_8">23rd Onion City Film and Video Festiva</span></a><span class="style_8">l, Chicago, Illinois, USA</span></li>
</ul>
<p class="paragraph_style"><strong>2010</strong><span class="style_2"><br /></span></p>
<ul>
<li><a class="style_8" title="http://nomadfilms.net/?page_id=236" href="http://nomadfilms.net/?page_id=236">“The Nomad Project,"</a><span class="style_8"> Access & Paradox Open Art Fair, Paris, France / Souvenirs From the Earth (TV), France </span></li>
<li><a title="http://www.agit-prop.com/prog10.pdf" href="http://www.agit-prop.com/prog10.pdf">Antimatter</a> Film Festival, Victoria, Canada</li>
</ul>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-04-04
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin 2010
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
night
Paris
People
reflection
Shops
-
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The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:00:07
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>ma mère</em>
Source
A related resource from which the described resource is derived
extract from <a title="Obama is parmi nous" href="http://pierreyvesclouin.fr/items/show/29" target="_self">Obama is parmi nous</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
2009-11-25
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
Description
An account of the resource
<img title="ma mère" src="https://pierreyvesclouin.fr/files/original/b2064a30067bc009510137fcbd648d44.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong>
fly
Paris
studio
-
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Omeka Image File
The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files.
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
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320
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:16
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>C'est pas vrai</em>
Description
An account of the resource
<img title="C'est pas vrai" src="https://pierreyvesclouin.fr/files/original/bd81354409684d9c137f1e1886d0bb59.jpeg" alt="" width="400px" /><br />
<p><strong><br />you can see the movie at the bottom of the page<br /><br /><br />exhibitions and screenings of ” C’est pas vrai”:</strong></p>
<p><strong> 2009 </strong></p>
<p>Music video art 4, Mons en Baroeul, France</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2009-08-09
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Illiers-Combray, FR
Illiers-Combray
marriage
People
square
village
-
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
Bitrate
196160
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Duration
331
Height
240
Width
320
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:05:26
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>orage</em>
Description
An account of the resource
<iframe src="//www.youtube.com/embed/rZVDtew-Kkk" frameborder="0" width="420" height="315"></iframe>
<p>extract from <a title="crossing" href="http://pierreyvesclouin.fr/items/show/35" target="_self">crossing</a></p>
<p><strong>exhibitions and screenings of ” Orage”</strong>:</p>
<p><strong>2009 </strong></p>
<p><a title="Bref" href="http://www.brefmagazine.com/pages/20ans.php?id_video=9" target="_self">“Bref”</a> short film magazine on ligne</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2009-07-05
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
New York City, NY
cars
New York City
night
People
rain
-
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
Bitrate
185034
Codec
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Duration
79
Height
240
Width
320
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:20
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>fumée</em>
Description
An account of the resource
<iframe width="420" height="315" src="//www.youtube.com/embed/fN45Gks9z2Q" frameborder="0"></iframe>
<p>extract from <a title="crossing" href="http://pierreyvesclouin.fr/items/show/35" target="_self">crossing</a></p>
<p><strong>exhibitions and screenings of ” fumée”:</strong></p>
<p class="paragraph_style_2"><strong><span class="style_2">2010</span></strong><span class="style_3"><br /></span></p>
<p class="paragraph_style_2"><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self"><strong><span class="style_3">. </span></strong>“Extraordinary Men” </a><span class="style_2">program curated by Stefan St Laurent, </span><a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf">Art Star video Biennal</a><span class="style_2">, Galerie Saw Gallery, Ottawa, On, Canada</span></p>
<p><strong>2009 </strong></p>
<p><a title="Bref" href="http://www.brefmagazine.com/pages/lpl.php?id_film=14" target="_self"><strong><span class="style_3">. </span></strong>“Bref”</a> short film magazine on ligne</p>
<p><strong><span class="style_3">. </span></strong>apexart program, Pocket Film festival, Forum des Images, Paris, France</p>
<p><a title="apexart" href="http://www.apexart.org/events/phone_screening.htm" target="_self"><strong><span class="style_3">. </span></strong>apexart public program</a>, apexart, NYC, New York, USA</p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><em><span class="s1"><strong>Extra Ordinary Men</strong></span></em></a></p>
<p class="p1"><em><span class="s1">Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.</span> </em></p>
<p class="p1"><em><span class="s1">Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin.</span></em></p>
<p class="p1"><em><span class="s1">Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières œuvres, Clouin explore cet espace précaire où cohabitent public et privé.</span></em></p>
<p class="p2"><em> <span class="s1">Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.</span></em></p>
<p class="p2"><em> <span class="s1">Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.»</span></em></p>
<p class="p1"><em><span class="s1">Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.</span> </em></p>
<p class="p1"><em><span class="s1">J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.»</span></em></p>
<p class="p1"><em><span class="s1">Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur.</span></em></p>
<p class="p1"><em><span class="s1">Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.</span> </em></p>
<p class="p1"><em><span class="s1">La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante.</span></em></p>
<p class="p1"><em><span class="s1">Stefan St-Laurent, commissaire</span></em></p>
<p class="p1"><em><span class="s1">Traduit de l’anglais par Colette Tougas</span></em></p>
<p class="p1"><em><span class="s1"><strong>Notes</strong></span></em></p>
<ol class="ol1">
<li class="li1"><em><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</span></em></li>
<li class="li1"><em><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (visité le 20 octobre 2010).(Notre traduction.</span></em></li>
<li class="li1"><em><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</span></em></li>
</ol>
<p class="p2"><em> </em><span class="s1"><em>Artiste multidisciplinaire et commissaire, <strong>Stefan St-Laurent</strong> est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa.</em><br /><br /></span></p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><span class="s1"><strong>Extra Ordinary Men</strong></span> </a></p>
<p class="p1"><span class="s1">Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could.</span></p>
<p class="p1"><span class="s1">Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with.</span></p>
<p class="p1"><span class="s1">In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit.</span></p>
<p class="p1"><span class="s1">I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime.</span></p>
<p class="p1"><span class="s1">Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.»</span></p>
<p class="p1"><span class="s1">A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work.</span></p>
<p class="p1"><span class="s1">I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2</span></p>
<p class="p1"><span class="s1">Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur.</span></p>
<p class="p1"><span class="s1">Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light.</span></p>
<p class="p1"><span class="s1">This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.</span> </p>
<p class="p1"><span class="s1">- Stefan St-Laurent, Curator</span></p>
<p class="p1"><span class="s1"><strong>Notes</strong></span></p>
<ol class="ol1">
<li class="li1"><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity»,<span> </span><em>Advocate</em>, August 7, 1984.</span></li>
<li class="li1"><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976), « in<span> </span><em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-,<span> </span><a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a><span> </span>(accessed October 20, 2010)</span></li>
<li class="li1"><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film»<span> </span><em>San Francisco Arts Monthly</em>, April 2005.</span></li>
</ol>
<p class="p2"> <span class="s1"><strong>Stefan St-Laurent,<span> </span></strong>a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front<span class="Apple-converted-space"> <span> </span></span>in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and<span class="Apple-converted-space"> <span> </span></span>Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa.</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-11-12
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
New York City, NY
cars
day
New York City
People
street
-
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Films (1995 - )
Description
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Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
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00:01:52
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Pierre Yves Clouin
Dublin Core
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<em>Du vent</em>
Date
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2009-07-16
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© Pierre Yves Clouin
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Paris
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<img title="Du vent" src="https://pierreyvesclouin.fr/files/original/1e930e532ced07436fc6f32e57d4de76.jpeg" alt="" width="400px" /><br /><br /><br /><strong>you can see the movie at the bottom of the page</strong>
green
Paris
wind
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Title
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Films (1995 - )
Description
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Pierre Yves Clouin has been working exclusively in film since 1995
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01:13:30
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Pierre Yves Clouin
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crossing
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<img title="Crossing" src="https://pierreyvesclouin.fr/files/original/771639e6820cee38b41bb62dd9f9e568.jpeg" alt="" width="400px" /><br />
<p><strong>you can see the movie at the bottom of the page</strong><br /><br /><br />In New York streets</p>
<p><strong>exhibitions and screenings of ” crossing”: </strong></p>
<p><strong>2010</strong></p>
<p>Urban Research, curated by Klaus W. Eisenlohr, Director Lounge Contemporary Art and Media, Berlin, Germany</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-07-20
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
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MovingImage
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New York City
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New York City
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People
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Films (1995 - )
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Pierre Yves Clouin has been working exclusively in film since 1995
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00:11:55
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Pierre Yves Clouin
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<em>Le droit à l'image</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-11-20
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Information about rights held in and over the resource
© Pierre Yves Clouin
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en
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New York City
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<img title="Le droit à l'image" src="https://pierreyvesclouin.fr/files/original/64da80e80c9c08212f1d89d607b83f79.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong>
boat
New York City
People
Photo
river
sea
-
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Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
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dv
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00:01:36
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Pierre Yves Clouin
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Title
A name given to the resource
Escalator
Description
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<iframe width="420" height="315" src="//www.youtube.com/embed/8BVCiFJe0tA" frameborder="0"></iframe>
<p>escalator and flakes<br /><em>escalator et flocons</em></p>
<p><strong>exhibitions and screenings of ” Escalator”: </strong></p>
<p><strong>2010 </strong></p>
<p><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self"><strong><span class="style_3">. </span></strong>“Extraordinary Men” </a><span class="style_2">program curated by Stefan St Laurent, </span><a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf">Art Star video Biennal</a><span class="style_2">, Galerie Saw Gallery, Ottawa, On, Canada</span></p>
<p><strong>2008</strong></p>
<p><a title="Instants video à Nice 2008" href="http://pierreyvesclouin.fr/items/show/38" target="_self"><strong><span class="style_3">. </span></strong>10eme rencontres Cinéma et video</a>, Nice, France<br /><br /></p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><em><span class="s1"><strong>Extra Ordinary Men</strong></span></em></a></p>
<p class="p1"><em><span class="s1">Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.</span> </em></p>
<p class="p1"><em><span class="s1">Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin.</span></em></p>
<p class="p1"><em><span class="s1">Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières œuvres, Clouin explore cet espace précaire où cohabitent public et privé.</span></em></p>
<p class="p2"><em> <span class="s1">Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.</span></em></p>
<p class="p2"><em> <span class="s1">Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.»</span></em></p>
<p class="p1"><em><span class="s1">Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.</span> </em></p>
<p class="p1"><em><span class="s1">J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.»</span></em></p>
<p class="p1"><em><span class="s1">Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur.</span></em></p>
<p class="p1"><em><span class="s1">Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.</span> </em></p>
<p class="p1"><em><span class="s1">La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante.</span></em></p>
<p class="p1"><em><span class="s1">Stefan St-Laurent, commissaire</span></em></p>
<p class="p1"><em><span class="s1">Traduit de l’anglais par Colette Tougas</span></em></p>
<p class="p1"><em><span class="s1"><strong>Notes</strong></span></em></p>
<ol class="ol1">
<li class="li1"><em><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</span></em></li>
<li class="li1"><em><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (visité le 20 octobre 2010).(Notre traduction.</span></em></li>
<li class="li1"><em><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</span></em></li>
</ol>
<p class="p2"><em> </em><span class="s1"><em>Artiste multidisciplinaire et commissaire, <strong>Stefan St-Laurent</strong> est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa.</em><br /><br /></span></p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><span class="s1"><strong>Extra Ordinary Men</strong></span> </a></p>
<p class="p1"><span class="s1">Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could.</span></p>
<p class="p1"><span class="s1">Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with.</span></p>
<p class="p1"><span class="s1">In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit.</span></p>
<p class="p1"><span class="s1">I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime.</span></p>
<p class="p1"><span class="s1">Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.»</span></p>
<p class="p1"><span class="s1">A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work.</span></p>
<p class="p1"><span class="s1">I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2</span></p>
<p class="p1"><span class="s1">Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur.</span></p>
<p class="p1"><span class="s1">Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light.</span></p>
<p class="p1"><span class="s1">This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.</span> </p>
<p class="p1"><span class="s1">- Stefan St-Laurent, Curator</span></p>
<p class="p1"><span class="s1"><strong>Notes</strong></span></p>
<ol class="ol1">
<li class="li1"><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity»,<span> </span><em>Advocate</em>, August 7, 1984.</span></li>
<li class="li1"><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976), « in<span> </span><em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-,<span> </span><a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a><span> </span>(accessed October 20, 2010)</span></li>
<li class="li1"><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film»<span> </span><em>San Francisco Arts Monthly</em>, April 2005.</span></li>
</ol>
<p class="p2"> <span class="s1"><strong>Stefan St-Laurent,<span> </span></strong>a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front<span class="Apple-converted-space"> <span> </span></span>in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and<span class="Apple-converted-space"> <span> </span></span>Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa.</span></p>
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<p><strong>you can see the movie at the bottom of the page</strong><em><br /><br />crachat, boulevard St Germain, Paris Juillet 2008<br /></em>Spit, St Germain Boulevard, Paris, July 2008</p>
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<img title="Limousine" src="https://pierreyvesclouin.fr/files/original/9e60e6db396d74b7fd4dbfa28bb7db72.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong>
cloud
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<img title="BHV" src="https://pierreyvesclouin.fr/files/original/e1b4bb73e49265d938a5a7dc81bec130.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong>
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Pierre Yves Clouin has been working exclusively in film since 1995
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Pierre Yves Clouin
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Bless My Soul
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An account of the resource
<a href="https://drive.google.com/file/d/1XuwubvkWQQpL3lfDA-LkAUUunH7od9p7/view?usp=sharing"><img title="BlessMySoul" src="https://pierreyvesclouin.fr/files/original/8a876ef1f574068b806c3a4afd9e4646.jpeg" alt="" width="400px" /></a><br />
<p><strong><a href="https://drive.google.com/file/d/1XuwubvkWQQpL3lfDA-LkAUUunH7od9p7/view?usp=sharing">Click here or on the photo to see the film</a><br />or You can see the film at the bottom of the page</strong><br /><br />... Because they don't know how to love you my way.<br /><em>...Parce qu'ils ne savent pas t'aimer comme je le fais.<br /></em>'Fever' performed by Esther Phillips 1966<br /><br /><strong><span class="style_4">exhibitions and screenings of ” Bless My Soul”:</span></strong></p>
<p class="paragraph_style_6"><strong>2010</strong><span class="style_5"><br /></span></p>
<ul>
<li><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self"><strong><span class="style_3">. </span></strong>“Extraordinary Men” </a>program curated by Stefan St Laurent, <a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf">Art Star video Biennal</a>, Galerie Saw Gallery, Ottawa, On, Canada</li>
</ul>
<p class="paragraph_style_5"><strong>2008</strong><span class="style_5"><br /></span></p>
<ul>
<li><a title="http://www.instantsvideo.com/instantsvideo2008.pdf" href="http://www.instantsvideo.com/instantsvideo2008.pdf"><strong><span class="style_3">. </span></strong>Les Instants Videos</a>, MK2 Bbliothèque, Paris, France</li>
<li><strong><span class="style_3">. </span></strong>Videolab Session at the electrococ Festival, Bourgoin Jallieu, France</li>
<li><a title="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008" href="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008"><strong><span class="style_3">. </span></strong>Heure Exquise Collection</a> at the Austin GLIFF, Austin, Texas, USA</li>
</ul>
<p class="paragraph_style_5"><strong>2007</strong><span class="style_5"><br /></span></p>
<ul>
<li><a title="http://www.mixbrasil.org.br/mixbrasil2007/filmes_curtamixbrasil.shtml" href="http://www.mixbrasil.org.br/mixbrasil2007/filmes_curtamixbrasil.shtml"><strong><span class="style_3">. </span></strong>Mix Brazil</a>, Sao Paulo, Brazil</li>
</ul>
<br />
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><em><span class="s1"><strong>Extra Ordinary Men</strong></span></em></a></p>
<p class="p1"><em><span class="s1">Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.</span> </em></p>
<p class="p1"><em><span class="s1">Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin.</span></em></p>
<p class="p1"><em><span class="s1">Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières œuvres, Clouin explore cet espace précaire où cohabitent public et privé.</span></em></p>
<p class="p2"><em> <span class="s1">Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.</span></em></p>
<p class="p2"><em> <span class="s1">Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.»</span></em></p>
<p class="p1"><em><span class="s1">Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.</span> </em></p>
<p class="p1"><em><span class="s1">J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.»</span></em></p>
<p class="p1"><em><span class="s1">Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur.</span></em></p>
<p class="p1"><em><span class="s1">Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.</span> </em></p>
<p class="p1"><em><span class="s1">La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante.</span></em></p>
<p class="p1"><em><span class="s1">Stefan St-Laurent, commissaire</span></em></p>
<p class="p1"><em><span class="s1">Traduit de l’anglais par Colette Tougas</span></em></p>
<p class="p1"><em><span class="s1"><strong>Notes</strong></span></em></p>
<ol class="ol1">
<li class="li1"><em><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</span></em></li>
<li class="li1"><em><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (visité le 20 octobre 2010).(Notre traduction.</span></em></li>
<li class="li1"><em><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</span></em></li>
</ol>
<p class="p2"><em> </em><span class="s1"><em>Artiste multidisciplinaire et commissaire, <strong>Stefan St-Laurent</strong> est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa.</em><br /><br /></span></p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><span class="s1"><strong>Extra Ordinary Men</strong></span> </a></p>
<p class="p1"><span class="s1">Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could.</span></p>
<p class="p1"><span class="s1">Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with.</span></p>
<p class="p1"><span class="s1">In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit.</span></p>
<p class="p1"><span class="s1">I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime.</span></p>
<p class="p1"><span class="s1">Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.»</span></p>
<p class="p1"><span class="s1">A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work.</span></p>
<p class="p1"><span class="s1">I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2</span></p>
<p class="p1"><span class="s1">Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur.</span></p>
<p class="p1"><span class="s1">Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light.</span></p>
<p class="p1"><span class="s1">This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.</span> </p>
<p class="p1"><span class="s1">- Stefan St-Laurent, Curator</span></p>
<p class="p1"><span class="s1"><strong>Notes</strong></span></p>
<ol class="ol1">
<li class="li1"><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity»,<span> </span><em>Advocate</em>, August 7, 1984.</span></li>
<li class="li1"><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976), « in<span> </span><em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-,<span> </span><a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a><span> </span>(accessed October 20, 2010)</span></li>
<li class="li1"><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film»<span> </span><em>San Francisco Arts Monthly</em>, April 2005.</span></li>
</ol>
<p class="p2"> <span class="s1"><strong>Stefan St-Laurent,<span> </span></strong>a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front<span class="Apple-converted-space"> <span> </span></span>in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and<span class="Apple-converted-space"> <span> </span></span>Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa.</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-04-04
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
Esther Phillips
eye
mouth
nudity
sex
song
-
http://pierreyvesclouin.fr/files/original/77fd7d7bb06259416e9807309622f263.mov
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Omeka Video File
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
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dv
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00:02:12
Director
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Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
I'm a New York Based Artist
Description
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<img title="I'm aNY based artist" src="https://pierreyvesclouin.fr/files/original/4934b21c378166233842a7c765265701.jpeg" alt="" width="400px" /><br />
<p><em><br /></em><strong>you can see the movie at the bottom of the page</strong><em><br /><br />Que sera sera<br /></em>What will be will be</p>
<p><strong>exhibitions and screenings of ” I’m a New York Based Artist ”:</strong></p>
<p><strong> 2009 </strong></p>
<ul>
<li>21st Onion City Experimental Film and Video Festival</li>
</ul>
<p><strong>2008 </strong></p>
<ul>
<li><a title="Rencontres Paris Berlin Madrid" href="http://pierreyvesclouin.fr/items/show/46" target="_self">Rencontres Internationales Paris Berlin Madrid</a>, Centro dos de Mayo, Madrid, Spain</li>
<li><a title="Rencontres Paris Berlin Madrid" href="http://pierreyvesclouin.fr/items/show/46" target="_self">Rencontres Internationales Paris Berlin Madrid</a>, Centre Pompidou and l’Entrepôt, Paris, France</li>
<li>Les Instants Videos, Friche Belle de Mai, Marseille, France</li>
<li>Black Box, curated by Catalyst Arts, Dublin, Ireland</li>
<li>Athens International Film & Video Festival, Athens, Ohio,USA</li>
</ul>
<p><strong>2007 </strong></p>
<ul>
<li><a title="Trunk 07" href="http://pierreyvesclouin.fr/items/show/45" target="_self">Trunk</a>, the Nordic Art Video Festival, Ostersund, Sweden</li>
<li>Raw Video art & dining, Monkey Town, Williamsburg Brooklyn, USA</li>
</ul>
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-03-25
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
Paris
sky
song
street
-
http://pierreyvesclouin.fr/files/original/ea2b4a0cdd3f137aaf79af2bac3367cf.mov
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Bitrate
497450
Codec
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Duration
63
Height
288
Width
352
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:02
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Probably Spam
Description
An account of the resource
<iframe width="420" height="315" src="//www.youtube.com/embed/IUXFrlfP2-s" frameborder="0"></iframe>
<p>Being first is a job<br /><em>Etre premier, c’est un métier</em></p>
<p><strong>exhibitions and screenings of ” Probably Spam”:</strong></p>
<p class="paragraph_style_3"><strong>2010</strong><span class="style_5"><br /></span></p>
<p class="paragraph_style_3"><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self"><strong><span class="style_3">. </span></strong>“Extraordinary Men” </a>program curated by Stefan St Laurent, <a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf">Art Star video Biennal</a>, Galerie Saw Gallery, Ottawa, On, Canada<span class="style_5"><br /></span></p>
<p class="paragraph_style_1"><strong><span class="style_6">2008</span></strong><span class="style_7"><br /></span></p>
<p class="paragraph_style_1"><span class="style_6"><a title="Instants video à Nice 2007" href="http://pierreyvesclouin.fr/items/show/38" target="_self"><strong><span class="style_3">. </span></strong>10eme rencontres Cinéma et video</a>, Nice, France<br /><br /></span></p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><em><span class="s1"><strong>Extra Ordinary Men</strong></span></em></a></p>
<p class="p1"><em><span class="s1">Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.</span> </em></p>
<p class="p1"><em><span class="s1">Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin.</span></em></p>
<p class="p1"><em><span class="s1">Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières œuvres, Clouin explore cet espace précaire où cohabitent public et privé.</span></em></p>
<p class="p2"><em> <span class="s1">Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.</span></em></p>
<p class="p2"><em> <span class="s1">Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.»</span></em></p>
<p class="p1"><em><span class="s1">Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.</span> </em></p>
<p class="p1"><em><span class="s1">J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.»</span></em></p>
<p class="p1"><em><span class="s1">Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur.</span></em></p>
<p class="p1"><em><span class="s1">Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.</span> </em></p>
<p class="p1"><em><span class="s1">La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante.</span></em></p>
<p class="p1"><em><span class="s1">Stefan St-Laurent, commissaire</span></em></p>
<p class="p1"><em><span class="s1">Traduit de l’anglais par Colette Tougas</span></em></p>
<p class="p1"><em><span class="s1"><strong>Notes</strong></span></em></p>
<ol class="ol1">
<li class="li1"><em><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</span></em></li>
<li class="li1"><em><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (visité le 20 octobre 2010).(Notre traduction.</span></em></li>
<li class="li1"><em><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</span></em></li>
</ol>
<p class="p2"><em> </em><span class="s1"><em>Artiste multidisciplinaire et commissaire, <strong>Stefan St-Laurent</strong> est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa.</em><br /><br /></span></p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><span class="s1"><strong>Extra Ordinary Men</strong></span> </a></p>
<p class="p1"><span class="s1">Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could.</span></p>
<p class="p1"><span class="s1">Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with.</span></p>
<p class="p1"><span class="s1">In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit.</span></p>
<p class="p1"><span class="s1">I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime.</span></p>
<p class="p1"><span class="s1">Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.»</span></p>
<p class="p1"><span class="s1">A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work.</span></p>
<p class="p1"><span class="s1">I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2</span></p>
<p class="p1"><span class="s1">Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur.</span></p>
<p class="p1"><span class="s1">Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light.</span></p>
<p class="p1"><span class="s1">This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.</span> </p>
<p class="p1"><span class="s1">- Stefan St-Laurent, Curator</span></p>
<p class="p1"><span class="s1"><strong>Notes</strong></span></p>
<ol class="ol1">
<li class="li1"><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity»,<span> </span><em>Advocate</em>, August 7, 1984.</span></li>
<li class="li1"><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976), « in<span> </span><em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-,<span> </span><a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a><span> </span>(accessed October 20, 2010)</span></li>
<li class="li1"><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film»<span> </span><em>San Francisco Arts Monthly</em>, April 2005.</span></li>
</ol>
<p class="p2"> <span class="s1"><strong>Stefan St-Laurent,<span> </span></strong>a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front<span class="Apple-converted-space"> <span> </span></span>in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and<span class="Apple-converted-space"> <span> </span></span>Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa.</span></p>
<p class="paragraph_style_1"><span class="style_6"> </span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-03-06
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
cars
road
wood
-
http://pierreyvesclouin.fr/files/original/c74ec485725a1115fcee616240ed7b23.mov
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
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If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
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00:05:55
Director
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Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bavella
Description
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<img title="Bavella" src="https://pierreyvesclouin.fr/files/original/a8c15867b7eea772fa659b3cd229b931.jpeg" alt="" width="400px" /><br />
<p><br /><strong>you can see the movie at the bottom of the page</strong><br /><br />« yeah but he eats the wrapper »<br /><em>«ouais, bah, li le mange le papier»</em></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2006-06-16
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Bavella, Corsica FR
Alfred Hitchcock
Bavella
Bernard Hermann
car
Corsica
Mountain
-
http://pierreyvesclouin.fr/files/original/9dc287de50d8c2a48736522a50f7c02e.mov
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Omeka Video File
The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files.
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345919
Codec
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109
Height
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
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00:01:44
Director
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Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>La vie en rose</em>
Description
An account of the resource
<img title="La vie en rose" src="https://pierreyvesclouin.fr/files/original/1f2666414623b4cbee0922c01201e86e.jpeg" alt="" width="400px" /><br />
<p><strong><br />you can see the movie at the bottom of the page<br /><br />exhibitions and screenings of ” La vie en rose”:</strong></p>
<p><strong>2008</strong></p>
<p><a title="Instants video à Nice 2008" href="http://pierreyvesclouin.fr/items/show/38" target="_self"><strong><span class="style_3">. </span></strong>10eme rencontres Cinéma et video</a>, Nice, France</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-06-14
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
jugglers
Palais de Tokyo
Paris
song