1 20 2 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 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