1 20 453 http://pierreyvesclouin.fr/files/original/4317206bf72b8d208327d7810cd92061.pdf 0d5188809b872c2bb8fafba81de3028d http://pierreyvesclouin.fr/files/original/b594c03a1232dc9a4f436182b528e9e7.pdf a3923723ba83e5f7316cb5bb31df069f http://pierreyvesclouin.fr/files/original/5a6460de09962568f8e689fcd68d2f5c.pdf b7e73cb049415d71906ad6e8ddffc8a9 http://pierreyvesclouin.fr/files/original/e3814a90e5c2b8b1cdb78361b51d02e6.pdf 0e10542576e682343dca29653ff7c561 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Text Any textual data included in the document. Extraordanary Men by Stefan St Laurent about screening of Pierre Yves Clouin videos program, at Art Star Video Biennal 4 2010 at Saw Gallery, Ottawa Extra Ordinary Men 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. 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. 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 &oelig;uvres, Clouin explore cet espace précaire où cohabitent public et privé. 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’&oelig;uvre 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. Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le c&oelig;ur 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 &oelig;il 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.» Ethnographie homosexuelle destinée à la consommation populaire, l’&oelig;uvre 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. 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 c&oelig;ur 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.» 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 &oelig;uvres 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. 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. 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. Stefan St-Laurent, commissaire Traduit de l’anglais par Colette Tougas Notes <ul> <li>Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</li> <li>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">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (visité le 20 octobre 2010).(Notre traduction.)</li> <li>Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</li> </ul> Biographies Pierre Yves Clouin est né à Paris où il vit et travaille. Il a étudié l’architecture à l’Ecole nationale supérieure des beaux-arts à Paris. Ses vidéos ont été présentées au BFI et au LUX (Londres), à la Paula Cooper Gallery et à Apexart (New York), au Media Art Lab (Moscou) et au Pro Arte Institute (Saint-Petersbourg), au Museo Tamayo (Mexico), au Museum of Contemporary Art, Los Angeles, au Guggenheim Museum Bilbao, au Museum Africa (Johannesburg), au Philadelphia Museum of Art, au LaM (Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), au San Francisco Art Institute et au Yerba Buena Center for the Arts (San Francisco), au Modern Art Oxford (Oxford), au Museum van Hedendaagse Kunst Antwerpen (Anvers), au Centre Pompidou (Paris), de même que dans des festivals à travers le monde, entre autres les festivals de films internationaux de San Francisco, Chicago, Cork, Thessaloniki, Moscou et Los Angeles, au Sundance Film Festival et à Ars Electronica. Il a récemment complété une résidence CulturesFrance Hors les Murs à Montréal. Artiste multidisciplinaire et commissaire, Stefan St-Laurent 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. Extra Ordinary Men 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. 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. 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. 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 &oelig;uvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime. 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.» 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. 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.» 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. 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. 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. - Stefan St-Laurent, Curator Notes <ul> <li>Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate, August 7, 1984.</li> <li>Department of Photographs, «Paul Strand (1890 - 1976), « in Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (accessed October 20, 2010).</li> <li>Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, April 2005.</li> </ul> Biographies Pierre Yves Clouin was born in Paris where he lives and works. He studied architecture at the Ecole nationale supérieure des beaux-arts in Paris. His videos have been presented at the BFI and Lux (London), the Paula Cooper Gallery and Apexart (New York), the Media Art Lab ( Moscow) and the Pro Arte Institute (St. Petersburg), the Museo Tamayo (Mexico City), the Museum of Contemporary Art, Los Angeles, the Guggenheim Museum Bilbao, Museum Africa (Johannesburg), the Philadelphia Museum of Art, the LaM( Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), the San Francisco Art Institute and Yerba Buena Center for the Arts (San Francisco), Modern Art (Oxford), the Musem van Hedendaagse Kunst Antwerpen (Antwerp) the Centre Pompidou (Paris), and selected in festivals worldwide, including the international film festivals of San Francisco, Chicago, Cork, Thessaloniki, Moscow and Los Angeles, and the Sundance Film Festival and Ars Electronica, among others. He recently completed a CulturesFrance Hors les Murs residency in Montréal in 2010. Stefan St-Laurent, 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 in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and 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. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data paper Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2010 Event Type biennal 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 Extraordinary Men, Art Star Video Biennal 2010 Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/f0fba44c23d0168f9e2dba859b38877f.jpg" alt="" width="400px" /> "Extraordinary Men" text catalog by Stefan St Laurent about screening at Art Star Video Biennal 2010 at <a title="sawgalery" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" target="_self">Saw Gallery Saw</a> La Biennale de vidéo d’art Art Star 4 présente dix programmes étoffés d’œuvres créées par des vidéastes indépendants canadiens et internationaux. Chaque programme inclura des œuvres produites par un seul vidéaste (ou un collectif de vidéastes), offrant ainsi un point de vue en profondeur sur son œuvre, sa pratique et le développement de sa carrière. Les artistes et commissaires participants sont invités à venir à Ottawa pour établir un dialogue direct avec le public. En plus des visionnements de monobandes vidéo au Club SAW, l’édition de cette année inclura des installations vidéo présentées dans divers lieux, dont la cour du complexe Clarendon Lanes dans le marché By, la cour extérieure de SAW et la Galerie SAW Gallery. Art Star 4 Video Art Biennial will present ten comprehensive programs of works by independent Canadian and international video artists. Each program will include works produced by one single video artist (or collective), providing a focus on the artist’s œuvre, practice and career development. Participating artists and curators are invited to come to Ottawa to have a direct dialogue with their audience. In addition to screenings of single-channel videos taking place in Club SAW, this year's edition will include video-based installations presented in various locations, including the Clarendon Lanes courtyard in the ByWard Market, the SAW outdoor courtyard and Galerie SAW Gallery. with: Laurel Nakadate, New York Terrance Houle, Calgary Cindy Dumai, Chicoutimi Rebecca Belmore, Vancouver Rafael Lozano - Hemmer, Montréal + Madrid Manon Labrecque, Montréal Pierre Yves Clouin, Paris Marcus Coates, London Ryan Trecartin, Los Angeles Kelly Rihardson, Toronto + London Extra Ordinary Men 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.  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. 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.  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.  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.» 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.  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.» 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. 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.  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. Stefan St-Laurent, commissaire Traduit de l’anglais par Colette Tougas Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</li> <li class="li1">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">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (visité le 20 octobre 2010).(Notre traduction.</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</li> </ol> Biographies Pierre Yves Clouin est né à Paris où il vit et travaille. Il a étudié l’architecture à l’Ecole nationale supérieure des beaux-arts à Paris. Ses vidéos ont été présentées au BFI et au LUX (Londres), à la Paula Cooper Gallery et à Apexart (New York), au Media Art Lab (Moscou) et au Pro Arte Institute (Saint-Petersbourg), au Museo Tamayo (Mexico), au Museum of Contemporary Art, Los Angeles, au Guggenheim Museum Bilbao, au Museum Africa (Johannesburg), au Philadelphia Museum of Art, au LaM (Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), au San Francisco Art Institute et au Yerba Buena Center for the Arts (San Francisco), au Modern Art Oxford (Oxford), au Museum van Hedendaagse Kunst Antwerpen (Anvers), au Centre Pompidou (Paris), de même que dans des festivals à travers le monde, entre autres les festivals de films internationaux de San Francisco, Chicago, Cork, Thessaloniki, Moscou et Los Angeles, au Sundance Film Festival et à Ars Electronica. Il a récemment complété une résidence CulturesFrance Hors les Murs à Montréal.  Artiste multidisciplinaire et commissaire, Stefan St-Laurent 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. Extra Ordinary Men  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. 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. 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. 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. 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.» 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. 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 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. 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. 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.  - Stefan St-Laurent, Curator Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate, August 7, 1984.</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976), « in Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (accessed October 20, 2010)</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, April 2005.</li> </ol>  Biographies Pierre Yves Clouin was born in Paris where he lives and works. He studied architecture at the Ecole nationale supérieure des beaux-arts in Paris. His videos have been presented at the BFI and Lux (London), the Paula Cooper Gallery and Apexart (New York), the Media Art Lab ( Moscow) and the Pro Arte Institute (St. Petersburg), the Museo Tamayo (Mexico City), the Museum of Contemporary Art, Los Angeles, the Guggenheim Museum Bilbao, Museum Africa (Johannesburg), the Philadelphia Museum of Art, the LaM( Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut), the San Francisco Art Institute and Yerba Buena Center for the Arts (San Francisco), Modern Art (Oxford), the Musem van Hedendaagse Kunst Antwerpen (Antwerp) the Centre Pompidou (Paris), and selected in festivals worldwide, including the international film festivals of San Francisco, Chicago, Cork, Thessaloniki, Moscow and Los Angeles, and the Sundance Film Festival and Ars Electronica, among others. He recently completed a CulturesFrance Hors les Murs residency in Montréal in 2010.  Stefan St-Laurent, 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  in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and  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. Date A point or period of time associated with an event in the lifecycle of the resource 2010-11-04 Relation A related resource <ul> <li><a title="strong enough" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a></li> <li><a title="c'est le veau qui bêle" href="http://pierreyvesclouin.fr/items/show/107" target="_self">C'est Ie veau bêle</a></li> <li><a title="Kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a></li> <li><a title="Mon lapin bleu" href="xhttps://pierreyvesclouin.fr/items/show/1352">Mon lapin bleu</a></li> <li><a title="Front room" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a></li> <li><a title="cul en l'air" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en I'air</a></li> <li> <a title="The Little Big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big</a></li> <li><a title="Diana Texas" href="http://pierreyvesclouin.fr/items/show/90" target="_self">Diana Texas</a></li> <li><a title="Broom Ballet" href="http://pierreyvesclouin.fr/items/show/10" target="_self">Broom Ballet</a></li> <li><a title="We Cannot Exhibit It" href="http://pierreyvesclouin.fr/items/show/69" target="_self">We Cannot Exhibit</a></li> <li><a title="Insert" href="http://pierreyvesclouin.fr/items/show/87" target="_self">lnsert</a></li> <li><a title="Model" href="http://pierreyvesclouin.fr/items/show/79" target="_self">Model</a></li> <li><a title="Bless My soul" href="http://pierreyvesclouin.fr/items/show/42" target="_self">Bless My Soul</a></li> <li><a title="Phone Home" href="http://pierreyvesclouin.fr/items/show/66" target="_self">Phone Home</a></li> <li><a title="John Who?" href="http://pierreyvesclouin.fr/items/show/52" target="_self">John Who?</a></li> <li><a title="Probably Spam" href="http://pierreyvesclouin.fr/items/show/47" target="_self">Probably Spam</a></li> <li><a title="Finger Puppets" href="http://pierreyvesclouin.fr/items/show/15" target="_self">Finger Puppets</a></li> <li><a title="fumée" href="http://pierreyvesclouin.fr/items/show/33" target="_self">fumée</a></li> <li><a title="escalator" href="http://pierreyvesclouin.fr/items/show/37" target="_self">Escalator</a></li> <li><a title="Pneumatic flight" href="http://pierreyvesclouin.fr/items/show/92" target="_self">Pneumatic Flight</a></li> <li><a title="Le saut dans le vide" href="http://pierreyvesclouin.fr/items/show/62" target="_self">Le saut dans le vide</a></li> </ul> Type The nature or genre of the resource Text 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 biennial Canada extraodinary man men Ottawa program Saw gallery Stefan St Laurent videos http://pierreyvesclouin.fr/files/original/a687dc02f2fc91f783433b96f17b703b.pdf 4a5109cafb0460f6f23f8bdf69aff61d 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Les Instants videos à Nice 2008 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 Les instants videos à Nice 2008 Description An account of the resource program during Les 10e Rencontres Cinéma et Vidéo à Nice with: <ul> <li><a title=""Probably spam" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/47" target="_self">Probably Spam</a></li> <li><a title=""La vie en rose" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/50" target="_self">La vie en rose </a></li> <li><a title=""Escalator" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/37" target="_self">Escalator</a></li> </ul> Publisher An entity responsible for making the resource available Les 10e Rencontres Cinéma et Vidéo à Nice Date A point or period of time associated with an event in the lifecycle of the resource 2008:09:21 Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Nice Relation A related resource <ul> <li><a title=""Probably spam" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/47" target="_self">Probably Spam</a></li> <li><a title=""La vie en rose" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/50" target="_self">La vie en rose </a></li> <li><a title=""Escalator" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/37" target="_self">Escalator</a></li> </ul> program http://pierreyvesclouin.fr/files/original/b3d4b02a68cadd73d2d31852f28b13b6.pdf 8f525a48c48710c36b9f427995b4a13f http://pierreyvesclouin.fr/files/original/dd7fd06dfe7fc7a9edea2ccabefe9385.pdf 04c908a34b5a271cf563143ad3805433 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Les nuits de la pleine lune Switch 2 Films expérimentaux, films abstraits, art vidéo et performances surgissent sur les écrans d'ARTE chaque nuit de pleine lune. Douce dérision, grain de folie et accès d'humeur s'immiscent dans cette troisième Nuit. Une nuit proposée par Claire Doutriaux et Paul Ouazan LA SEPT ARTE Une année des treize lunes ARTE fête les treize pleines lunes de 1999 avec l3 programmations spéciales. Chaque Nuit sera produite par un des partenaires d'ARTE (Allemagne, France, Belgique, Espagne...). Elle donnera libre cours à des programmes inédits :courts métrages, surprises, films expérimentaux, auto.tictions, zapping... Expérimentez ! Une fois par mois, Switch privilégie I'univers singulier d'un réalisateur ou d'un artiste. Après leur première Nuit, Claire Doutriaux et Paul Ouazan nous proposent ce soir d'explorer le travail unique du vidéaste américain Nelson Sullivan. Figure connue du milieu underground new-yorkais, celui-ci nous guide dans les rues d'un New York inconnu avec humour et autodérision. On verra aussi les æuvres de Jean-Pierre Mocik, Pierre-Yves Clouin, Marie-Ange Guilleminot, William Wegman et la nuit se terminera en beauté avec le film culte de Jack Smith, Flaming Creatures. <div> Pierre-Yves Clouin Ce jeune vidéaste français a fait de son corps un lieu d'exploration privilégié. Cadrages, décadrages et jeux de perspectives confèrent à ces petites ceuvres un caractère extrêmement déroutant </div> Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data paper program 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 Switch2 arte Description An account of the resource <img title="Arte" src="https://pierreyvesclouin.fr/files/original/dd326caf67301686c8fbd5bfb0b82e7b.jpeg" alt="" width="400px" /> Switch2 Atelier de la sept arte, broadcast program curated by Claire Doutriaux et Paul Ouazan: <ul> <li>William Wegman </li> <li>Marie Ange Guilleminot </li> <li>Pierre Yves Clouin </li> <li>Nelson Sullivan </li> <li>Jack Smith </li> <li>Jean-Claude Mocik</li> </ul> Date A point or period of time associated with an event in the lifecycle of the resource 1999-03-02 Format The file format, physical medium, or dimensions of the resource paper Type The nature or genre of the resource Text Relation A related resource <ul> <li><a title="C'est le veau qui bêle" href="http://pierreyvesclouin.fr/items/show/107" target="_self">C'est le veau qui bêle</a></li> <li><a title="Workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a></li> <li><a title="Head Egg" href="http://pierreyvesclouin.fr/items/show/95" target="_self">Head Egg</a></li> <li><a title="Front Room" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a></li> <li><a title="Carnissus" href="http://pierreyvesclouin.fr/items/show/93" target="_self">Carnissus</a></li> <li><a title="les inrockuptibles about switch2" href="http://pierreyvesclouin.fr/items/show/110" target="_self">les Inrockuptibles</a></li> </ul> program http://pierreyvesclouin.fr/files/original/dc38d6bae420b49f841d9bc356394533.pdf 9190e45179c96e14c82fbef3786b90b0 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Pierre-Yves Clouin enregistre dans son intégralité une action souvent vaine (comme se déplacer à quatre pattes) mais qui intrigue par ses effets d'oprique . Le jeune vidéaste se joue du temps de la télévision, du temps segmenté par la publicité, formaté par la grille des programmes où rien n'est gratuit. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data paper 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 Belle de nuit Inrockuptibles Description An account of the resource press Inrockuptibles Art critic Nicolas Thély publishes a review of Switch 2, arte 1999 Date A point or period of time associated with an event in the lifecycle of the resource 1999-03-01 Format The file format, physical medium, or dimensions of the resource paper Language A language of the resource Type The nature or genre of the resource Text Nicolas Thély 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Event Type screening Participants Names of individuals or groups participating in the event. Vena Virago, Vincent Gallo, Pierre Yves Clouin, Eva Midgley 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 Honey Bunny v.2 Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/0cd6bb978f9dabd715cf946320e89216.jpg" alt="" width="400px"" /> screening December 27 2008, 10pm with films by Vena Virago, Vincent Gallo, Pierre Yves Clouin, Eva Midgley, Monkey Town Williamsburg, NY curated by Margie Schnibbe @ Sam Zimmerman   Date A point or period of time associated with an event in the lifecycle of the resource 2008-12-27 Relation A related resource <a title="Mon lapin bleu" href="https://pierreyvesclouin.fr/items/show/1352">Mon lapin bleu</a> Type The nature or genre of the resource event 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 http://pierreyvesclouin.fr/files/original/a445ddad530afe0fa098218fc729b830.pdf 368c0934ef3d2cc9138acd2b009ffd45 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. "'Timidity is not an issue,' says video artist Pierre Yves Clouin. Part exhibitionist, part auteur, Clouin is not afraid to show a little skin in his little videos (none are more than 5 minutes long). And is not afraid to share an opinion either: 'Full frontal nudity is curiously flat.' "As both director and star of his growing body of work, Clouin focuses his lens on parts of the male body that don't often make gay top-ten lists, like armpits and shoulders, the small of the back and the top of the head. Clouin works like a video Venus Flytrap, seducing 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 shoulder cleavage (The Little Big, 2000) or by a particularly sexy earlobe (I've Got Mouths All Over, 1999). "Earlier this year he screened a tape at the prestigious Sundance Film Festival. This fall he has a few venues lined up including the MIX Festival in Manhattan, where Clouin once premiered The Bleating Calf and caused a sensation with animal rights activists until it was explained that what looked like a lamb about to be slaughtered was actually Clouin himself, naked and moaning. "Clouin travels quite a bit these days, leaving his boyfriend at home in Paris. Exquisitely formed and clearly at ease with exposing himself to the critical masses, Clouin has some sexy advice for the body-obsessed among us: 'Accept pleasure whatever it may be and whenever it strikes.'" Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data periodical 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 Naked Eye Description An account of the resource videos by Pierre Yves Clouin, text by Rajendra Roy, "Naked Eye,” Empire, 07, fall 2001, p. 26, New York City Date A point or period of time associated with an event in the lifecycle of the resource fall 2001 Relation A related resource <ul> <li><a title="The Little Big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big</a></li> <li><a title="C'EST LE VEAU QUI BÊLE" href="http://pierreyvesclouin.fr/items/show/107" target="_self">C'est le veau qui bêle</a> (The Bleating Calf)</li> <li><a title="J'AI DES BOUCHES PARTOUT " href="http://pierreyvesclouin.fr/items/show/88" target="_self"> J'ai des bouches partout</a> (I've Got Mouths All Over)</li> </ul> Format The file format, physical medium, or dimensions of the resource paper Type The nature or genre of the resource Text 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 Rajendra Roy http://pierreyvesclouin.fr/files/original/c4745ea661f680250093e1f62d6d22ad.pdf 1bf7cf142d038226a17af35303bd9bdd 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. ART REVIEW; Cinema à la Warhol, With Cowboys, Stillness and Glamour By HOLLAND COTTER Published: April 5, 2002 Mr. Calm shoots many of his images -- of buildings, playgrounds, people on the street -- from his apartment window, and sometimes he hires neighbors to pose for him. He digitally manipulates the results, adding animation and a sampled sound track. His work is, in fact, a form of visual sampling, with images blending into one another. A basketball net grows into a web that engulfs a child; a bulldozer shovels debris from a demolition as a computer-drawn house begins to erect itself on the site. The show finds Mr. Calm still in the process of sorting out ideas. But he is an ambitious artist doing imaginative things with still-experimental digital media, and this is a promising debut. New Arts Program For a sense of what film and video artists outside New York are up to, drop by the Fourth New Arts Program Biennial Video Festival 2001, a traveling juried show at Paula Cooper making its second last stop. It's a mixed bag, but the two top-prize pieces are beauties: ''Procession'' by Van McElwee, an artist from St. Louis, is a slice of dust-to-dust Americana, as small-town parade bands drift across the screen and dissolve into air; ''Trans(e) Bleu,'' by the Montreal team of Emmanuel Avenel and Marie-France Giraudon, is stream-of-consciousness meditation on the idea of ''far north.'' Pierre Yves Clouin's jolting little ''Shadow Box'' is also worth sticking around for. You might want to wrap up a Chelsea visit with two further film stops: one short, ''The Paradise Institute'' by Janet Cardiff and George Bures Miller at Luhring Augustine, and one long, Bruce Nauman's ''Mapping My Studio I (Fat Chance John Cage)'' at Dia, a Warholian five hours. Or maybe move on to attractions elsewhere. At Other Galleries One is uptown at Suite 106, a smart new gallery run by Irena Popiashvili and Marisa Newman in the Milburn Hotel on the Upper West Side. On view is a video titled ''We Are Waiting'' by Chris Sollars and Mads Lynnerup, a sort of ''Screen Tests'' in reverse. In Mr. Hobart's film, gay men tease a macho ideal; in ''We Are Waiting,'' two straight men, played by the San Francisco-based artists, gamely and, on the whole, convincingly try on the role of dial-up gay call-guys. Finally, there are two film-and-video group shows in the waterfront district near Brooklyn Heights known as Dumbo (for Down Under the Manhattan Bridge Overpass). ''Eyestalk'' at Smack Mellon Studios has installation-size pieces by Chris Doyle, Shannon Kennedy, Eric Saks and Eve Sussman, all scaled to the colossal space. Down the block at GAle GAtes is ''Superlounge,'' put together by Andréa Salerno and Mari Spirito, with Christoph Draeger's vivid restagings of cinematic blood baths, Candice Breitz's hypnotically prolonged European train trip, and one of Patty Chang's endurance-test mini-dramas. In this one, she tries to navigate a patch of open field that bucks and pitches like a rough sea. It's as though Andrew Wyeth's Christina suddenly felt the earth move under her feet, though no painting could match the zany dynamic -- of an iconic image taking a new twist in real time -- that Ms. Chang creates through video here. All Around Town The artists and New York City galleries in the review of video art. T. J. WILCOX, Metro Pictures, 519 West 24th Street, Chelsea, (212) 206-7100. Through April 13. DANNY HOBART, Gorney Bravin and Lee, 534 West 26th Street, Chelsea, (212) 352-8372. Through April 13. ''VAPOR,'' Marianne Boesky Gallery, 535 West 22nd Street, Chelsea, (212) 680-9889. Through April 20. KEMBRA PFAHLER, American Fine Arts Company at P.H.A.G., 530 West 22nd Street, Chelsea, (212) 941-0401. Through tomorrow. JONATHAN CALM, Caren Golden Fine Art, 526 West 26th Street, Suite 215, Chelsea, (212) 727-8304. Through April 27. FOURTH NEW ARTS PROGRAM BIENNIAL VIDEO FESTIVAL 2001, Paula Cooper Gallery, 534 West 21st Street, Chelsea, (212) 255-1105. Through April 20. CHRIS SOLLARS AND MADS LYNNERUP, Suite 106, Milburn Hotel 242 West 76th Street, Manhattan, (212) 362-1006. Through May 25. ''EYESTALK,'' Smack Mellon Studios, 56 Water Street, Brooklyn, (718) 834-8761. Through April 14. ''SUPERLOUNGE,'' GAle GAtes et al., 37 Main Street, Brooklyn, (718) 522-4596. Through May 4. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Paper 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 Art Review; Cinema à la Warhol, With Cowboys, Stillness and Glamour Description An account of the resource Holland Cotter publishes a critic of movies in the New York Times, April 5, 2002 about Shadow Box at Paula Cooper Gallery during NAP Video Festival Date A point or period of time associated with an event in the lifecycle of the resource 2002-04-05 Relation A related resource <ul> <li><a title="Shadow Box" href="http://pierreyvesclouin.fr/items/show/86" target="_self">Shadow Box</a></li> <li><a title="nap 2001" href="http://pierreyvesclouin.fr/items/show/185" target="_self">NAP 2001</a></li> </ul> Type The nature or genre of the resource Text 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 New York Times http://pierreyvesclouin.fr/files/original/4933b9e24f7bf69aa8a4796270234186.pdf 696112262b386c11a60d47e882cda66c 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Media Museum Virtual Theatre - Moscow Biennale of Contemporary art Parallel Program 2 MediaArtLab Center for Art and Culture and the Theatre of Nations present Media Museum Virtual Theatre WHAT IS THE MEDIA MUSEUM In October 2007 MediaArtLab opens the Media Museum. This is an absolutely new kind of a museum — a laboratory to generate new creative ideas combined with a library, cinema and exhibition space. A contemporary artwork is a complex organism it is impossible to study through illustrations only. The audience has to watch it in movement and in space, to hear it work and to get an exhaustive commentary on its context. MEDIA MUSEUM VIRTUAL THEATRE Introducing media art works into museum space means not only their technical preservation but also work with the environment of their representation. In this aspect the theatre is media culture’s paradise. In the theatre media history has actually began for it is here that message virtualization technologies have developed for centuries. Afterwards these new reproduction technologies have made theatre itself virtual, turning it into cinema. As the final evolutionary stage cinematograph comes back to theatre to look at itself from a different perspective. During two nights at the Theatre of Nations the audience will be introduced to a range of films reflecting the process, and also contemporary plastic performances, a synthesis of dance and media context. These performances reduce media to stage props and decompose it using performative artistic strategies. The program researches contemporary post technological media history which is closely connected with contemporary methods of artistic, musical, plastic, visual and technological expression. VIRTUAL THEATRE, TECHNOLOGY AND ARTIST exhibition project. March 24th— 25th On entering the theatre, the audience finds itself before Media Museum’s virtual portal. By using the touch activated stand you can navigate through various parts of the Museum or find and activate media art works to watch on the plasma panel. Further on, in the first floor lobby, the video art collection is presented for the viewer on several screens. The collection demonstrates various stages of evolution in both Western and Russian media culture and includes works by Nam June Paik, Richard Serra, Marina Abramovitz, Alexei Isaev, Giya Rigvava, Sinij Sup (the Blue Soup group), AES and many others. The exhibition also includes video installations such as Kyrill Chyolushkin’s work — a unique video sculpture made from a one—piece foam plastic block onto which 3D video images are projected. MEDIA MUSEUM VIRTUAL THEATRE VIDEO PROGRAMSThe programs present major works by the stars of video and media art — artists from Russia, Central and Eastern Europe, USA, Australia, Japan and China. The audience will be introduced to video art works combining ingeniously visual, plastic, conceptual and audio images into a whole. Works from MediaArtLab’s Mediatheque; Centre Pompidou, France; Montevideo/Time Based Arts Netherlands Media Art Institute; the Zentrum fur Kunst and Mediatechnologie, Karlsruhe, Germany; the Vasulka Archive, Santa Fe, USA; Electronic Arts Intermix, New York, USA; Anthology Film Archives, New York, USA; LUX, London, UK and 235 Media GmbH, Berlin, Germany will be shown. ATTRACTIONS PARKAt the beginning of the last century Sergei Eisenstein composed a manifesto based on his theatre work experience. This experience he realized in the cinema as the theory and practice of montage. It has since become an integral part of culture’s gene pool but nobody could expect this manifesto to be still relevant in the beginning of the 21st century. However it is at the moment realized in films, TV shows and interactive art projects. This program has collected an “attraction park” of contemporary technologies in experimental film, video art, theatre and interactive art.Works by Vito Acconchi, USA; Steve Dickson, UK; Steina and Woody Vasulka, USA; Berue, France; Evan Siebens, Canada; Nam June Paik, Charlotte Murman, USA; Joanne Greenfield, USA and Jeffrey Show, Germany. THE DIALOGUECommunication is just as vital as breathing — it is a basic necessity of life. It is as unconditional as 21/04/08 20:57 Contemporary Arts Review » Media Museum Virtual Theatre - Moscow Biennale of Contemporary art Parallel Program 2 Page 2 sur 3 http://www.contemporaryartsreview.com/?p=133 nature’s laws: you place two people (or two animals) into a common space, they start a relationship. Human—to—human interaction as well as interaction between humans and animals has in reality developed into a close and complex automatism and we are all equipped with an ultra sensitive broadcast and reception organ for The Other. This video program is a diagram of sorts — it shows all manners and forms of relationships and interactions, a video collection to show us an enlarged image of our own behavior.Works by G. Wood, P. Harrison, UK; Mark Bane, USA; g: Jens Lien, Norway; Pieter Baan Muller, The Netherlands; Bart Dijkmen, the Netherlands; Alicia Framis, Spain/The Netherlands and Robert Arnold, The Czech Republic/USA. MOVING IMAGESOn retrospection, the moving images were last century’s most important invention. For a long time they belonged to the so called mass media. Moving pictures, having first appeared in the variety theatre and then in the cinema and on television became the visual images to confuse our perceptions. Is reality becoming fiction or is fiction turning into reality?Works by Isabel Martin, Spain; Pierre-Yves Clouin, France; Hartmut Jahan, Germany; Clodette Lemay, Canada; William Wegman, USA; Jozef Rotakovsky, Poland; Werther Germondari, Italy; Eric Olofsen, the Netherlands; Eliza Fernbach, UK and others. ALSO SHOWN ON MARCH 24TH, 2007 THE BRIDE’S GIFT Performed by the Ohne Zucker dance project. Production: Daria Busovkina, Taras Burnashev. We are waiting for the film to start, trying to guess what its title means. It will begin shortly and we’ll have to try on another reality at the other side of the screen. Shot after shot the plot develops, but we won’t be able to stop the film to reflect on the events even for a moment. We wait for the film to start and the chain of events cannot be broken or turned back. There will be no gifts but there will be love —a bit strange, a bit mad. It will divide life and death by a narrow line, like a knife’s edge. We are waiting for the film to start. The Ohne Zucker dance project was created by Daria Busovkina and Taras Burnashev — independent dancers and choreographers. In their performances various dance techniques are playfully mixed, well—known and new theatre devices used, the action includes video and elements of performance. A skillful combination of the ingredients creates a special style, distinguishing the theatre from many others. Performance by the SOUNDRAMA studio SOUNDRAMA is not just a studio uniting musicians, actors and artists, but a new school of theatre and music, based on synthesis of these two arts. MARCH 25TH 2007 LA MENTIRA a film by Wim Vandekeybus, Belgium, 1993. A film by the Belgian theatre director, who created one of the most important works in the field of video and dance synthesis. The action takes place partly in Antwerp, partly in a desolate landscape near Granada in Spain. Wim Vandekeybus evokes drama out of the aesthetic conflict between plastic, music and space. The performance of “What the Body Does Not Remember” according to the critics was characterized by “a brutal competition between the dance and the music, a militant aggressive landscape showing what the body does not, indeed, remember”. Together with Walter Verdin and Octavio Sturbe, Vandekeybus has produced “Roseland” — a video in which the dance was performed in an unusual but effective setting of a derelict Brussels cinema. In “Her Body Doesn’t Fit Her Soul” he used blind dancers. This performance, as well as other Vandekeybus’ works was given various awards at many European and international festivals. THE HEAVEN’S FOREST BYCAPONIAVinogradov & Aleksei Group. The folklore of Great Zakozye and Yasherovo performed by the aborigines of megapolis. A highly explosive mixture of antichristian Russian with nanotechnology, going to…The project reintroduces into contemporary culture an archaic phenomenon — a complete action of human behavior and sound extraction. Aleksei Bortnichuk — guitar (former of Zvuki Mu and Mamontov & Aleksei)German BYCAPO Vinogradov — everything else. THE THREE KOMARINSKIJS a film by Dmitry BulnyginThe first video art documentary on Russian contemporaryChoreographed by: Tatiana Baganova, Sasha Pepelyaev and Olga Pona. 21/04/08 20:57 Contemporary Arts Review » Media Museum Virtual Theatre - Moscow Biennale of Contemporary art Parallel Program 2 Page 3 sur 3 http://www.contemporaryartsreview.com/?p=133 THE SCHEDULE March 24th 19.30 – Virtual theatre, technology and artist exhibition 20.00 – “The Bride’s Gift” performed by the Ohne Zucker dance project. 21.00 –Media Museum Virtual Theatre video program 21.30 – Performance by the SOUNDRAMA studio March 25th19.30 – Virtual theatre, technology and artist exhibition20.00 – Media Museum Virtual Theatre video program20.45 - “The Heaven’s Forest Bycaponia” performed by Vinogradov & Aleksei Group21.15 – LA MENTIRA, Wim Vandekeybus, Belgium22.00 - THE THREE KOMARINSKIJS, Dmitry Bulnygin For more information please visit our website at: www.mediaartlab.ru Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data paper 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 THE SECOND MOSCOW BIENNALE OF CONTEMPORARY ART - PARALLEL PROGRAM Media Museum Virtual Theatre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/4c105278cf4124ac9af7b2a63f921954.jpg" alt="" width="400px" /> Media Museum Virtual Theatre - Moscow Biennale of Contemporary art Parallel Program 2 Moscow Biennale of Contemporary art Parallel Program 2 MediaArtLab Center for Art and Culture and the Theatre of Nations presentMedia Museum Virtual Theatre with Vito Acconchi, Steve Dickson, Steina and Woody Vasulka, Berue, Evan Siebens, Nam June Paik, Charlotte Murman, Joanne Greenfield, Jeffrey Show, G. Wood & P. Harrison, Mark Bane, g: Jens Lien, Pieter Baan Muller, Bart Dijkmen, Alicia Framis, Robert Arnold, Isabel Martin, Pierre-Yves Clouin, Hartmut Jahan, Clodette Lemay, William Wegman, Jozef Rotakovsky, Werther Germondari, Eric Olofsen, Eliza Fernbach Date A point or period of time associated with an event in the lifecycle of the resource 2007-03-24 to 2007-03-25 Relation A related resource <a title="Moscow biennale" href="http://pierreyvesclouin.fr/items/show/122" target="_self">THE SECOND MOSCOW BIENNALE OF CONTEMPORARY ART - PARALLEL PROGRAM</a> Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Moscow Moscow http://pierreyvesclouin.fr/files/original/44c7695ce0cf2b112ffe2577c3e2a324.pdf 460853181159dac05b99858100423d2a 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Event Type screening Participants Names of individuals or groups participating in the event. Maiju Ahlgren, Brian Alfred, Dave Bennett, Dmitry Bulnygin, Sean Capone, Pierre Yves Clouin, Daria Dorosh, Juliana Forero, Marcus Hansson, Kristen Jensen, Alex Katsenelinboigen, Mollie Murphy, Wayne Pyle, Wendy Richmond, Kathryn Sabatini, Reza Safavi, Ronan Sharkey, Rudy Shepherd, Vitamin Green, Linda Weiss 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 CAPTURE THIS Description An account of the resource <a title="fumée" href="http://pierreyvesclouin.fr/items/show/33" target="_self">"Fumée"</a> in <a title="apexart" href="http://www.apexart.org/events/phone_screening.php" target="_self">Cell Phone Video Screening </a>at apexart apexart PUBLIC PROGRAM Wednesday, September 24, 2008 6-8 pm, , New York City Date A point or period of time associated with an event in the lifecycle of the resource 2008-09-24 Relation A related resource <a title="fumée" href="http://pierreyvesclouin.fr/items/show/33" target="_self">fumée</a> Type The nature or genre of the resource event 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 Screening http://pierreyvesclouin.fr/files/original/45b2ec657970a8e8f8ebfb45230ab735.pdf 8fe00d07536209c05ad47b23e556c3ab 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. The Venus Flytrap by Rajendra Roy The first time I saw Pierre-Yves Clouin’s video work, I remember feeling a little naughty. I was looking at what I thought was a dying calf, weak and vulnerable, and yet it was a scintillating experience. The image was a bit out of focus; just enough to invite imagination, but not so much as to dissuade belief. When my eyes finally focused on what was actually taking place on the screen, and I realized that bare skin and labored moans belonged not to a weak calf, but rather to a wily Frenchman, I was enamored. It is perhaps the naked vulnerability of Clouin’s subject/self that makes his careful mastery of the video trompe l’oeil so beguiling. In each of the minute-or-so long works he produces, the viewer is presented with soft crevices on sculpted male bodies, hush moans and false orifices via voyeuristic electronic glances. In the end, it is always the viewer who is left exposed. Exposed that is, to the invented reality of the recorded image. At once anti-documentarian and a redefining of the visual autobiography, Clouin’s work succeeds precisely because he fully expects us to trust the camera: “Seeing is Believing.” Melding a Venus flytrap’s knack for seduction with a contortionist’s sense of mise-en-scène, Pierre-Yves Clouin is the quintessential video “top.” Rajendra Roy L’attrape-mouche par Rajendra Roy La première fois que j’ai vu le travail vidéo de Pierre Yves Clouin, je me souviens de m’être senti un peu coupable. Je regardais ce qui me semblait être un veau en train de mourir, faible et vulnérable, et c’était pourtant une étincelante expérience. L’image était un peu floue ; juste assez pour inviter à l’imagination, mais pas suffisamment pour nous dissuader d’y croire. Quand, finalement, mes yeux se concentrèrent sur ce qu’en fait il y avait à l’écran, et que je réalisais que cette peau dénudée et que ces difficiles gémissements n’étaient pas ceux d'un veau sans défense, mais plutôt d'un astucieux français, j'ai été épris. C’est peut-être la vulnérabilité nue du sujet-moi de Clouin qui rend sa soigneuse maîtrise de la vidéo trompe-l’&oelig;il si captivante. Dans chacun de ses travaux d’une minute, ou des plus longs, qu’il a produit, le spectateur se trouve devant de douces fentes sur des corps masculins sculptés, de secrets gémissements et de faux orifices via de voyeuristes coups d’&oelig;il électroniques. À la fin, c’est toujours le spectateur qui reste mis à nu, exposé en fait à la réalité inventée de l’image enregistrée. À la fois anti-documentaire et redéfinition de l’autobiographie visuelle, le travail de Clouin réussit précisément parce qu’il attend entièrement de nous, d’avoir confiance en la caméra : "Voir, c’est croire". En fusionnant la stratégie de séduction de l’attrape-mouche de Vénus et un sens contorsionniste de la mise en scène, Clouin est le "top" quintessenciel de la vidéo. Rajendra Roy Chief curator, Department of Film, Museum of Modern Art; Competition Selection Committee, Berlinale Internationale Filmfestspiele Berlin; Formerly, programmer, artistic director, Hamptons International Film Festival; executive director, MIX Gay/Lesbian Film Festival; Film and Media Arts Program Manager,  Solomon R. Guggenheim Museum Education: BA, University of California, San Diego Co-founder: Rising Stars program Publications include: "Making Choices," Moving Pictures; "The New 'Old' World," IndieWIRE; "Naked Eye: Pierre-Yves Clouin," Empire, no. 7; "The Knickian Doctrine: A Metaphor for the Future of the Media Arts," MAIN; "The Truth and the Need: Jim Hubbard as Curator" in Jim Hubbard, Filmmaker, exh. cat. Brooklyn: Dumba Arts Center; "Films and Videos for a Synthetic Society" with Anie Stanley, in Next Sex; "L'Attrape Mouche (Venus Flytrap)" in Turbulences Video #29. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data paper 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 The Venus Flytrap Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/0f3750640c4a7dccd77d6c48e0cff454.jpg" alt="" width="400px" /> Rajendra Roy publishes a review on videos by Pierre Yves Clouin in Turbulences (Videoformes) Date A point or period of time associated with an event in the lifecycle of the resource 2000-10-02 Relation A related resource <a title="C'EST LE VEAU QUI BÊLE" href="http://pierreyvesclouin.fr/items/show/107" target="_self">C'est le veau qui bêle (The bleating calf)</a> Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Clermont Ferrand Rajendra Roy 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. tv party MIX the New York queer experimental media festival 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 MIX TV Party (2003) Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/328c53348f1d1f67d808867eacd0bbad.jpg" alt="" width="400px" /> Invitation tv party MIX NYC 2003 with an image of <a title="MAIS POURQUOI T'ES TOUT MOUILLÉ?" href="http://pierreyvesclouin.fr/items/show/65" target="_self">MAIS POURQUOI T'ES TOUT MOUILLÉ?</a> Publisher An entity responsible for making the resource available MIX NYC Date A point or period of time associated with an event in the lifecycle of the resource 2003-11-11 Rights Information about rights held in and over the resource © Pierre Yves Clouin Relation A related resource <a title="MAIS POURQUOI T'ES TOUT MOUILLÉ?" href="http://pierreyvesclouin.fr/items/show/65" target="_self">MAIS POURQUOI T'ES TOUT MOUILLÉ?</a> Type The nature or genre of the resource Text 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 MIX NYC http://pierreyvesclouin.fr/files/original/d7f9cebfdef93e4e838c11d6bca6ae62.pdf 2c363debe91a1c66db66eb02e8607374 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Thé au Riz, 2002 Video, 15’30 min., colour “You see stuff and, at the same time, hear other stuff. For example, you see a guy's butt in the street and you hear someone talking about his taxes. Totally unrelated”, ponders the voice-over in Thé au Riz. Pierre Yves Clouin juxtaposes a sound recording of an intimate conversation in bed with his lover with lengthy images of public spaces — a shopping mall, a café, a street in New York City. The conversation meanders along, as a wide view of a landscape filmed through an airplane window passes by. The altitude of the plane reduces rivers and mountains to mere cracks and crevices. All sense of proportion is lost. The scene changes, so does the conversation. - What do you mean, the bar that’s higher than you? - What? - You said: on the bar, which is higher than you. - Oh yeah, when you’re sitting on the bed here the bar over there is higher than me. There doesn’t appear to be any sense of logic or direction in this conversation, nor do the changing scenes seem in any way related to each other. It appears to be just pillow talk accompanied by random images shot with a handycam. The man continues to speak in a soft voice about some friends, the places in Paris they visited, which route they took to get there, and where they had lunch. We see a kid wearing an Adidas jacket waiting for his dad who’s using a public phone in some mall while a voice-over discusses a female duck and her ducklings. Totally unrelated. When he asks his friend about the leftover pasta we see the image of someone reading a paper in an outdoor café. What remains however throughout the entire fifteen minutes of the video is the strong sense of intimacy. Clouin immerses you in a dream-like state where the apparent absence of logic is not questioned. Thé au Riz is a thought-provoking and challenging work that raises a number of questions about the blurring of the boundaries between public and private space, in particular about the relationship between the individual and the media, which are increasingly invading people’s private lives, just like we see more and more of people’s private lives reflected in the media. Strong Enough, 2001 Video, 1’5 min, colour “I don't need your sympathy There's nothing you can say or do for me…” Cher in Strong Enough Out of all the bug video’s that were sent in to the World Wide Video Festival this year Pierre Yves Clouin's Strong Enough made a lasting impression. The short clip only lasts one-and-a-half minute and is arguably the world’s shortest and sweetest musical ever made. The leading lady is a June Bug lying upside-down on its back, struggling in a desperate attempt to get back up on its feet again. It is remarkable how Clouin manages to transform such a simple everyday life scene into a larger-than-life event by effectively utilizing the essence of comedy: the careful orchestration of tension and relief. The viewer is parachuted into a top dramatic moment. You immediately identify and sympathize with the struggling bug. Then Clouin injects a bit of humour to relieve the heavy tension of this tragic event: the first two verses of Cher’s song Strong enough kick in. Relief. Cher is basically saying that you can be strong and rule your life and make the choices you want to make. Then Cher stops... We wait for the climax. But there is no climax, there is no turning point in the plot. Remco Vlaanderen 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 WorldWide Video Festival Description An account of the resource A text by program director Remco Vlaanderen about <a title="THÉ AU RIZ" href="http://pierreyvesclouin.fr/items/show/72" target="_self">Thé au riz</a> & <a title="STRONG ENOUGH" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a> Date A point or period of time associated with an event in the lifecycle of the resource 2003-0-03 Relation A related resource <a title="THÉ AU RIZ" href="http://pierreyvesclouin.fr/items/show/72" target="_self">Thé au riz</a> & <a title="STRONG ENOUGH" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a> Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Amsterdam WorldWideVideo Festival http://pierreyvesclouin.fr/files/original/5c344d7bdbf4c819eacb8f30468c25d6.pdf 8fe00d07536209c05ad47b23e556c3ab 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 Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Pierre Yves Clouin ou le pacte charnel Marianne Valio Là où référents et références ont statué la loi des hommes, l'éligibilité des valeurs et supplanté l'émotion du "faire-vrai", le vidéaste Pierre Yves Clouin accomplit sa vie. De cet accomplissement libertaire est née ma rencontre avec l'auteur et son œuvre. Pierre Yves Clouin est un homme de parole : celle que l'on se donne à soi-même. De cette parole vierge de tout parasitage esthétique, l'artiste structure la portée d'un langage universel d'où advient l'œuvre, sans justification de fondement et de forme, sans écran. Son style c'est lui. Dans le panorama artistique contemporain et producteur d'œuvres, Pierre Yves Clouin ne déroge pas à sa parole. Jamais dupe, il sait que "tout a été dit" et que "tout a été fait". Son implication d'artiste se génère d'elle-même. L'originalité de sa démarche et sa concision esthétique m'engagent à évoquer son travail afin de mettre en valeur la texture de l'œuvre. La chair est son terroir, sa cimaise, son espace de création. La vidéo, son outil immédiat pour transmettre - ici et maintenant - la représentation d'un corps habité, sculpté par un montage en perspective, affiné par la matité des sons, évoquant la gamme chromatique du peintre ou la cadence du burin du sculpteur. De ses débuts de peintre (il fut l'assistant de Gérard Garouste) où il s'impliqua dans la réalisation de peintures abstraites en petits formats, Pierre Yves Clouin persévéra dans sa quête de l'image par l'image (photographie, design, architecture) créant ainsi une percutante langue visuelle dont l'expressivité corrobore l'avant-gardisme de la Renaissance et sa mise en abîme du "point de fuite", en conséquence ses enjeux et empreintes dans l'évolution de l'histoire de l'Art. Pierre Yves Clouin est un artiste tenace. Acharné à extirper de la genèse de ses œuvres en "autoportraits", une essence de l'art, il nous offre les clés du mystère de notre propre perception, sans intention d'effraction de serrures, sans volontarisme de détournement des certitudes de notre quotidien, nous suggérant ainsi d'autres visions plastiques. Par la rigueur absolue de son travail, il assujettit son corps à son expérimentation d'auteur singulier, visant à interroger les lois de la chair, de l'érotisme, de l'animalité et du lien. La projection de ses œuvres vidéographiques signe frontalement la configuration de son inspiration d'artiste, qui révèle le temps d'une œuvre, sa non-appartenance à la tribu des homo sapiens et des bipèdes. Pierre Yves Clouinincarne selon moi, la génération spontanée des "radicaux libres". Vidéos <a title="Pneumatic Flight" href="http://pierreyvesclouin.fr/items/show/92" target="_self">Pneumatic Flight </a>(1'30'' - 1999) Sa tête renversée au bord du cadre de l'écran de projection, face à l'objectif et l'occupant plein-champ, Pierre Yves Clouin dirige et oriente sa main posée par-dessus son crâne afin de le porter. Simultanément, la mobilité de son index libère et obstrue sa narine, sculptant l'œuvre par l'aspiration et l'expiration de son souffle, libérant ainsi le son et la forme. Rythme "crescendo", scandé par le mouvement de ses lèvres et de son doigt. Régularité - en premier chef - rapportée par la bande-son, puis accélération et suspension du souffle jusqu'à l'hésitation de la respiration, influençant le mouvement de la caméra qui, quasi-imperceptiblement, expulse la tête renversée hors champ, laissant ainsi en suspens un présent syncopé. Par l'atypique approche perceptive de son corps, Pierre Yves Clouin pose l'esquisse de ce que pourrait être une loi de l'apesanteur dans un univers où la trace de l'homme est validée par l'empreinte de ses pieds sur la terre. <a title="Mon lapin bleu" href="http://pierreyvesclouin.fr/items/show/89" target="_self">Mon lapin bleu </a>(1'10" - 1999) Le décor est planté : un parquet ciré d'une chambre d'appartement, un sapin de Noël décoré de guirlandes argentées et de boules scintillantes et multicolores. Un lapin en peluche bleue, avec de grandes oreilles bleues et un museau blanc. Le personnage principal est nu. Son corps présenté à l'objectif révèle la typologie parfaite d'un corps d'athlète. Le style du décor rappelle un jour de fête, une veillée de Noël, sacro-saint espace-temps réservé aux enfants et à leurs expériences ludiques. Au centre de l'objectif, Pierre Yves Clouin déclenche les mécanismes du désir et sa mise en œuvre. Il enlace entre ses jambes nues l'objet d'amour, le "jouet d'amour", son lapin en peluche bleue. L'étreinte se désigne à la caméra et trouve appui sur le parquet, donnant libre cours à la chorégraphie initiée par l'artiste, à ce jeu de l'amour où tout s'autorise puisqu'il s'agit d'un jeu. Une fois encore, la mise en forme de la perspective par le biais de l'objectif et du mouvement de la caméra induit la relation des protagonistes et expérimente l'originalité de la caméra "subjective". Pierre Yves Clouin nous laisse pantois et troublés par l'évident polymorphisme du désir de l'autre et réciproquement. Sa pudeur délicate consiste à faire opérer la caméra-vidéo au ras du parquet et à mettre hors champ le visage du héros. De même la cime du sapin de Noël restant à jamais invisible, nous abandonne à l'univers insondable de nos pulsions érotiques. <a title="Lube " href="http://pierreyvesclouin.fr/items/show/100" target="_self">Lube </a>(1'35" - 1997) La caméra dans une intime proximité fait corps du profil en visage de Pierre Yves Clouin. "Autoportrait" d'une concentration qui précède l'action, cruciale dans l'expression d'une parole muette mobilisant les lèvres dans l'indicible, révélant l'abécédaire du regard recouvert par les paupières baissées et qui en dit long. Bruissement d'un échantillon cosmétique déchiré dans une rumeur hors champ. Portée de la main qui recouvre et caresse le crâne nu, l'enduisant d'un gel libératoire d'une toilette intime. Le visage de Pierre Yves Clouin subitement se détourne vers l'objectif, révélant également le haut du torse qui pivote sur lui-même. Halluciné, le regard de l'artisteincise nos pupilles par la pénétration de l'objectif. Il projette son crachat dans l'œil de la caméra déchargeant ainsi la tension d'un trop-plein d'amour, celui de notre aliénation commune à l'altérité et au manque. <a title="Carnissus" href="http://pierreyvesclouin.fr/items/show/93" target="_self">Carnissus </a>(3'34" - 1999) "Autoportrait" au plus près de l'émoi permanent transmis par les icônes vidéograhiques de Pierre Yves Clouin,"Carnissus" nous livre la crucialité de l'œuvre en miroir et de son écho perdurant dans notre inconscient collectif. Au commencement était le désir. Narcisse contemporain, Pierre Yves Clouinse penche sur l'oral de la langue, vecteur amoureux de la prédestination du baiser, à l'origine de la parole et de l'altérité. L'innommable prend place dans la représentation rythmiquement plastique de la pulsation cardiaque, du souffle ténu reliant le portrait à l'autoportrait, le désir au désir, la chair à la chair et l'alter à l'ego. Pierre Yves Clouinplonge dans les tréfonds de l'œuvre absolue, auto-érotisme de l'engagement charnel et de son authenticité. L'objectif cadre au plus serré le visage intérieur de l'artiste jusqu'à l'adoration vorace et l'introjection carnivore. Cette œuvre de Pierre Yves Clouin inscrite au cœur du désir, assume l'enjeu possible de la perte, prenant le risque d'y laisser sa peau. Pour qui l'écoute, elle nous dit que le désir se nourrit de lui-même, que l'amour est aussi son propre bourreau et simultanément son rédempteur. Fondu au noir. Pierre Yves Clouina élu domicile en lui-même. L'engagement physique de son métier d'artiste le place hors de portée de toute exclusion exogène. Ainsi, œuvrant en extrême liberté, sa manipulation subtilement acquise et vaillamment performante du médium vidéographique, lui permet d'atteindre sa "disparition hors cadre" - parachèvement de son œuvre - afin de nous inviter à tirer parti de nous-même : être auteur de notre vie ou bien y renoncer. À quel prix ? L'œuvre vidéographique de Pierre Yves Clouin ne s'expose pas, on l'emmène avec soi. Paris, le 10 septembre 2000 Marianne Valio , Chargée de mission au Département de la Coopération, de l'Ingénierie et au Développement Culturels, Pôle Résidences, programmes de Recherche et de Création, à l'Association Française d'Action Artistique (AFAA), Ministère des Affaires Etrangères. Publié dans un portrait de Pierre Yves Clouin, “Turbulences vidéo,” #29, automne-hiver 2000 (Clermont-Ferrand, France). © 2000 Marianne Valio / Turbulences vidéo 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 Pierre Yves Clouin ou le pacte charnel Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/0f3750640c4a7dccd77d6c48e0cff454.jpg" alt="" width="400px" /> A text by Marianne Valio (AFAA - Institut Français) about videos by Pierre Yves Clouin in Turbulences (Videoformes) Date A point or period of time associated with an event in the lifecycle of the resource 2000-06-10 Relation A related resource <a title="Lube" href="http://pierreyvesclouin.fr/items/show/100" target="_self">Lube</a>, <a title="Carnissus" href="http://pierreyvesclouin.fr/items/show/93" target="_self">Carnissus</a>, <a title="Pneumatic Flight " href="http://pierreyvesclouin.fr/items/show/92" target="_self">Pneumatic Flight</a>,<a href="https://pierreyvesclouin.fr/items/show/1352"> Mon lapin bleu</a> Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Clermont Ferrand Marianne Valio http://pierreyvesclouin.fr/files/original/b6490ec0f8ec2bc102bc659d2cc8d768.PDF 54e5764a3b2149eae55d8c69969bee8f http://pierreyvesclouin.fr/files/original/0296703dda65cc9647d97bdcc20b8d9b.PDF f36be94470da063b1f756e840c9038d1 http://pierreyvesclouin.fr/files/original/671f8ac712388ba254dbe7981d90cd37.pdf 28f91e2b503e4976977d6e8dab6f21a2 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2005-04-07 7:30pm Event Type screening Participants Names of individuals or groups participating in the event. 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 San Francisco Cinematheque presents “We Cannot Exhibit It: The Videos of Pierre Yves Clouin" Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/e9569e42ad99e1263768f9afe1d7fe31.jpg" alt="" width="http://pierreyvesclouin.fr/files/original/e9569e42ad99e1263768f9afe1d7fe31.jpg" /> <a title="San francisco cinematheque" href="http://www.sfcinematheque.org/we_cannot_exhibit_it_the_videos_of_pierre-yves_clouin_04_07_2005/" target="_self">San Francisco Cinematheque</a> presents “We Cannot Exhibit It: The Videos of Pierre Yves Clouin,"curated by <a title="maïa cybelle carpenter" href="http://www.mccarpenter.net/program4.html" target="_self">Maïa Cybelle Carpenter</a>, Yerba Buena Center for the Arts, San Francisco, California, USA Presented in Association with Frameline From bursts of perspective trickery to homoerotic celebrations of the male body and philosophical musings on public versus private, the award-winning videos of Pierre-Yves Clouin never cease to delight. His witty examinations of the quotidian elements of life bring transcendental revelations combined with laughter. "Alone in front of the camera, and without a word, I spy on myself in the monitor during the action. I am double: seer and seen. As if freedom from surveillance meant inventing, within surveillance itself, an illusion that subverts the watching eye." (P-YC)) We'll screen My Levitating Butt and <a title="J'AI DES BOUCHES PARTOUT " href="http://pierreyvesclouin.fr/items/show/88" target="_self">I've Got Mouths All Over</a>, as well as the more recent <a title="THÉ AU RIZ " href="http://pierreyvesclouin.fr/items/show/72" target="_self">Thé au Riz (RiceTea/ Theory)</a>, <a title=" Flying Sculpture " href="http://pierreyvesclouin.fr/items/show/85" target="_self">Flying Sculpture</a>, <a title="Strong Enough" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a>, and US premieres of new work. (Maïa Cybelle Carpenter) The first time I saw Pierre Yves Clouin's video work was in 1997 when I was the programming coordinator for MIXNYC: The New York Experimental Lesbian and Gay Film Festival. I was immediately seduced by his work because of how he used the specificity of the video medium: it's intimacy and framing that lends itself so well to voyeurism. He also displayed a playful sensitivity in his depiction of masculinity. But most of all, I was impressed by the strong brevity of his statements. When someone can convey a multitude of ideas that some people use the feature length format for, in a 2-minute long video - that's pretty amazing. Sitting in the dark and watching <a title="CUL EN L'AIR" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a> and <a title="THE FINAL TOUCH" href="http://pierreyvesclouin.fr/items/show/83" target="_self">The Final Touch</a> I had a moment with myself. The type of moment where my thoughts were provoked by the representation of his body, the identification I had as a spectator with this intimate moment and then the surprise by how I was pleasantly manipulated to believe I was seeing one thing, when I was in fact, looking askew. This looking askew is something that traverses all of his work. You'll notice that his work can easily be divided: very short pieces about the body, the gaze and objectification and on the other hand, longer pieces about public vs. private. But over and over again Pierre Yves shows us that as viewers we have become lazy with the way we understand perspective in our spectatorship. Whether he is playing with the framing and eroticisation of the male body or showing us a succession of seemingly random images of the public with intimate voiceovers, Pierre Yves manipulates our viewing expectations. — <a title="maïa cybelle carpenter" href="http://www.mccarpenter.net/program4.html" target="_self">Maïa Cybelle Carpenter</a> , San Francisco Cinematheque Screening : Thursday, April 7, 7:30 pm, Yerba Buena Center for the Arts. Program length: approx. 70 minutes. Works screening: <ul> <li>• <a title="Strong Enough" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a> (2001) (Best Musical and Audience Choice Awards, Thaw, 2002)</li> <li>•<a title="C'EST LE VEAU QUI BÊLE" href="http://pierreyvesclouin.fr/items/show/107" target="_self">"C'est le veau qui bêle”</a> (1995) (Prix DRAC Auvergne, French Ministry of Culture, Vidéoformes, 1997)</li> <li>•<a title="CUL EN L'AIR" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a>(1997)</li> <li>•<a title="BROOM BALLET" href="http://pierreyvesclouin.fr/items/show/10" target="_self">Broom Ballet</a>(2000) (Best New Media Work, Festival du Cinéma Francophone en Acadie 2000) — Cleaning was never so much fun! (M.C.C.) •The Castle (Le Château) (2002)</li> <li>•<a title="Thé au Riz " href="http://pierreyvesclouin.fr/items/show/72" target="_self">Rice Tea/Theory (Thé au riz)</a> (2002) — Despite being mundane, the everyday has become quite the intellectual. (M.C.C.)</li> <li>•<a title=" Flying Sculpture " href="http://pierreyvesclouin.fr/items/show/85" target="_self">Flying Sculpture</a> (2000) — Your evening programming has been paused for some light aeronautic action sculpture. (M.C.C.)</li> <li>•<a title="Mon lapin bleu" href="http://pierreyvesclouin.fr/items/show/89" target="_self">Mon lapin bleu</a> (1999)</li> <li>•<a title="FRONT ROOM" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a>(1996) (Third Prize Experimental, New Arts Program Biennial Video Festival, Pennsylvania, 1998; Third Prize, Hamburg International Lesbian & Gay Film Festival, 1998)</li> <li>•But Why are You So Wet? (<a title="MAIS POURQUOI T'ES TOUT MOUILLÉ?" href="http://pierreyvesclouin.fr/items/show/65" target="_self">Mais pourquoi t'es tout mouillé ?</a>) (2003)</li> <li>•<a title="J'AI DES BOUCHES PARTOUT " href="http://pierreyvesclouin.fr/items/show/88" target="_self">J'ai des bouches partout</a>(1999) — Georges Bataille would agree - Pierre Yves Clouin has created a sublime orifice. (M.C.C.)</li> <li>•<a title="Kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a>(1998)</li> <li>•<a title="LE SAUT DANS LE VIDE" href="http://pierreyvesclouin.fr/items/show/62" target="_self">The Leap into the Void (Le Saut dans le vide)</a> (2004) PREMIERE — Is it suicidal or is it a suspension of belief? This little one takes on Yves Klein's infamous 'moment-state' from 1960. (M.C.C.)</li> <li>•<a title="WE CANNOT EXHIBIT IT" href="http://pierreyvesclouin.fr/items/show/69" target="_self">We Cannot Exhibit It</a> (2002) (Certificate of Merit, 38th Chicago International Film Festival, 2002)</li> <li>•<a title="THE FINAL TOUCH" href="http://pierreyvesclouin.fr/items/show/83" target="_self">The Final Touch</a>(2000) — Remember what you learned in drawing class about perspective? (M.C.C.)</li> <li>•<a title="BUILT TO SURVIVE" href="http://pierreyvesclouin.fr/items/show/81" target="_self">Built to Survive</a> (2001)</li> <li>•<a title="PHONE HOME" href="http://pierreyvesclouin.fr/items/show/66" target="_self">Phone Home</a> (2003) — My dear, I'm waiting for you. What on earth is taking you so long to get out? (M.C.C.)</li> <li>•<a title="There" href="http://pierreyvesclouin.fr/items/show/82" target="_self">There</a> (2001)</li> </ul> Co-presented by Frameline. Frameline Presents: Videos by Pierre Yves Clouin Experimental cinema enthusiasts, Francophiles, and anyone whose derrière occasionally defies gravity will delight in the defiantly idiosyncratic videos of Pierre Yves Clouin. This cheeky French artist, who charmed and alarmed audiences with <a title="CUL EN L'AIR" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a> (My Levitating Butt) at the 1998 San Francisco International LGBT Film Festival, will make a rare local appearance on Thursday, April 7 at 7:30 pm at Yerba Buena Center for the Arts, for a program organized by San Francisco Cinematheque and proudly co-presented by Frameline. The program, intriguingly titled We Cannot Exhibit It: The Videos of Pierre Yves Clouin, will feature a bevy of short works ranging from homoerotic celebrations of the male body to philosophical musings on the prickly differences between private and public behavior. Program curator Maïa Cybelle Carpenter notes that Clouin's "witty examinations of the quotidian elements of life often bring trancendental revelations combined with laughter. " Heady stuff, yet also enormously entertaining; short works such as <a title="J'AI DES BOUCHES PARTOUT " href="http://pierreyvesclouin.fr/items/show/88" target="_self">J'ai des bouches partout</a> (I've Got Mouths All Over), <a title="Thé au Riz " href="http://pierreyvesclouin.fr/items/show/72" target="_self">Rice Tea/Theory (Thé au riz)</a>,<a title=" Flying Sculpture " href="http://pierreyvesclouin.fr/items/show/85" target="_self"> Flying Sculpture</a> and <a title="Strong Enough" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a> are playfully sexy as they toy with cinematic convention and challenge audience expectations. And then there's that famous levitating butt, which once again will do its magic. The screening will round out with U.S. premieres of Clouin's latest pieces. Frameline and San Francisco Cinematheque have collaborated many times over the years. Now in its fifth decade as the nation's leading proponent and presenter of avant-garde film and video, Cinematheque shares Frameline's commitment to celebrating personal expression and artistic freedom through the exhibition of media-arts work that pushes beyond mainstream conventions. We Cannot Exhibit It: The Videos of Pierre Yves Clouin exemplifies the adventurous spirit of both organizations and is sure to be a memorable event. — January 2005 <a href="https://pierreyvesclouin.fr/items/show/269">Exploring the Offbeat World of Experimental Film by Sura Wood</a> Even the most ardent movie buffs often stop short of embracing experimental film. Although this neglected stepchild of independent cinema conjures images of gritty film stock, atonal music and non-linear or non-existent plot, it is a category of filmmaking in which many innovations start and creativity blooms, unfettered by commercial pressures or the glare of publicity. Its practitioners, obscure to all but a few devotees, are often defiantly individualistic and oblivious to audience appeal, which can pose a problem for exhibitors. "I'm not sure if I could claim to know the public's attitude toward experimental film or whether 'resistance' would be an appropriate word to use," says Steve Polta, administrative director of San Francisco Cinematheque, a leading proponent and presenter of experimental, personally expressive film, video and cutting-edge media. "I would venture that much of the work we screen, be it historical or contemporary, documentary, narrative or experimental, differs from most mainstream media in that it is not necessarily easy… Much of the work we present is complex and encourages — and rewards — active engagement on the viewer's part." … The controversial, award-winning French video artist Pierre-Yves Clouin has been called, among other things, "the master of innuendo and metamorphosis." Part renegade philosopher, part exhibitionist, Clouin uses his body as battleground and movie set. He is the subject of <a title="SAN FRANCISCO CINEMATHEQUE PRESENTS “WE CANNOT EXHIBIT IT: THE VIDEOS OF PIERRE YVES CLOUIN"" href="http://pierreyvesclouin.fr/items/show/159" target="_self">"We Cannot Exhibit It: The Videos of Pierre-Yves Clouin,"</a>… [presented by the San Francisco Cinematheque in April 2005, see below]. "As both director and star of his growing body of work, Clouin focuses his lens on [unexpected] parts of the male body … like armpits and shoulders, the small of the back and the top of the head," wrote Rajendra Roy in 2001 on the website C-x-P. (Roy is the former manager of the Solomon R. Guggenheim Museum's Film and Media Arts Program.) "Clouin works like a video Venus Flytrap, seducing 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… Clouin has some sexy advice for the body-obsessed among us: 'Accept pleasure whatever it may be and whenever it strikes.'" … - Sura Wood, <a title="http://www.sfarts.org/" href="http://www.sfarts.org/">San Francisco Arts Monthly</a>, April 2005 Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Francisco San Francisco cinematheque http://pierreyvesclouin.fr/files/original/4923bdb1aa67f03398b124037a6aa070.pdf 2ba4cd4863f9ac3ddf2c411a31a5e050 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2000-12-13 to 2000-12-17 Event Type festival 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 2e Festival des Cinémas Différents Paris, France Collectif Jeune Cinéma Description An account of the resource 2e Festival des Cinémas Différents Paris, France Collectif Jeune Cinéma December 13 - 17 <ul> <li><a title="Workman " href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> 6:00, 1998 Opening Night program Wednesday, December 13, 8 pm</li> <li><a title="Broom Ballet" href="http://pierreyvesclouin.fr/items/show/10" target="_self">Broom Ballet</a> 2:00, 2000 Screening Friday, December 15, and Sunday, December 17, 6 pm</li> </ul> Cinéma La Clef - Image d'ailleurs 21 rue de la Clef, Paris 05 Date A point or period of time associated with an event in the lifecycle of the resource 2000-12-13 to 2000-12-17 Relation A related resource <ul> <li><a title="Broom Ballet" href="http://pierreyvesclouin.fr/items/show/10" target="_self">Broom Ballet</a></li> <li><a title="Workman " href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a></li> </ul> 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 Festival http://pierreyvesclouin.fr/files/original/31cef314ef6bc0b75f13aafbe61fe018.pdf c9731af952783375751b3e2452b1b596 http://pierreyvesclouin.fr/files/original/5be68ba15266f8f59c63994434499226.pdf 0e90944ccf5e1bdefcfcb5ae9ba2aa99 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. 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 17. Kasseler Dokumentarfilm- & Videofest Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/ca9f12ab209b81d0f41c579d7eb3f82c.jpg" alt="" width="400px" /> <a title="PNEUMATIC FLIGHT" href="http://pierreyvesclouin.fr/items/show/92" target="_self"> </a> In the program "Mensch, ... , Technik" (Man, ..., Technology) Screening Saturday, November 18, 8 pm Date A point or period of time associated with an event in the lifecycle of the resource 2000-11-15 to 2000-11-19 Relation A related resource <a title="PNEUMATIC FLIGHT" href="http://pierreyvesclouin.fr/items/show/92" target="_self">Pneumatic Flight</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Kassel Festival http://pierreyvesclouin.fr/files/original/d8ed5efc05d36eecbe4ab8034cd7c7d0.pdf cd16d25dbd25f5ef416841838bfcfbfe 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2000-11-15 to 2000-11-19 Event Type festival 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 J'ai des bouches partout in MIX NYC 2000 Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/5816b5628c62b8df1e502e9397d62d45.jpg" alt="" width="400px" /> In the Opening Night program "Rocket Fuel"Screening Wednesday, November 15, 9 pm Courthouse Theater, Anthology Film Archives Relation A related resource <a title="J'AI DES BOUCHES PARTOUT " href="http://pierreyvesclouin.fr/items/show/88" target="_self">I've Got Mouths All Over</a> Type The nature or genre of the resource event 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 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2000-11-09 to 2000-12-04 Event Type festival 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 MiX Brasil 2000 - 8º Festival da Diversidade Sexual Brazil Description An account of the resource <ul> <li>Nov. 9 - 19 São Paulo</li> <li>Nov. 17 - 23 Rio de Janeiro</li> <li>Nov. 23 - 26 Porto Allegre Nov. 30 -</li> <li>Dec. 4 Brasilia Dec. 4 - 6 Recife</li> </ul> Relation A related resource <a title="MON LAPIN BLEU" href="https://pierreyvesclouin.fr/items/show/1352">Honey Bunny</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant São Paulo, Rio de Janeiro, Porto Allegre, Brasilia, Recife Festival 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Event Type festival 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 backup 2.0 festival.new media in film Weimar, Germany Description An account of the resource International competition "Wettbewerb blau" (Blue Block) Screening Sunday, November 12, 6 pm at Mon Ami backup festival Bauhaus University Faculty of Media Relation A related resource <a title="PNEUMATIC FLIGHT" href="http://pierreyvesclouin.fr/items/show/92" target="_self">Pneumatic Flight</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Weimar Festival http://pierreyvesclouin.fr/files/original/c7cb5450d17b9f568288953360d22797.pdf e6ea6f43bc83331a44574e7e017f09bb 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 Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2000-11-09 to 2000-11-12 Event Type festival 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 Pneumatic Flight in 13èmes Instants Vidéo Rencontres Internationales à Manosque Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/6b79ab02bf99185fe6d86ab01851e89c.jpg" alt="" width="400px" /> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Manosque Relation A related resource <a title=""Pneumatic flight" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/92" target="_self">Pneumatic Flight</a> Festival