1
20
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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/.
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Exhibitions, screenings, festival selections & documents
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<p>"'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.'<br />"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 (<em>The Little Big</em>, 2000) or by a particularly sexy earlobe (<em>I've Got Mouths All Over</em>, 1999).<br />"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 <em>The Bleating Calf</em> 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.<br />"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.'"</p>
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
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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
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fall 2001
Relation
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<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
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paper
Type
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Text
Coverage
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New York City
Rajendra Roy
-
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
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Exhibitions, screenings, festival selections & documents
Document
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Text
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<p><strong>The Venus Flytrap<br /></strong>by Rajendra Roy<br />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.”<br />Rajendra Roy<br /><br /><strong>L’attrape-mouche<br /></strong><em>par Rajendra Roy<br /></em>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.<br />C’est peut-être la vulnérabilité nue du sujet-moi de Clouin qui rend sa soigneuse maîtrise de la vidéo trompe-l’œil 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’œil 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.<br />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".<br />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.<br /><strong>Rajendra Roy<br /></strong>Chief curator, Department of Film, Museum of Modern Art;<br />Competition Selection Committee, Berlinale Internationale<br />Filmfestspiele Berlin; Formerly, programmer, artistic director,<br />Hamptons International Film Festival; executive director, MIX<br />Gay/Lesbian Film Festival; Film and Media Arts Program Manager, Solomon R. Guggenheim Museum<br /><strong>Education:</strong> BA, University of California, San Diego<br /><strong>Co-founder:</strong> Rising Stars program<br /><strong>Publications include:</strong> "Making Choices," <em>Moving Pictures; </em>"The New<br />'Old' World," <em>IndieWIRE</em>; "Naked Eye: Pierre-Yves Clouin," <em>Empire,<br /></em>no. 7; "The Knickian Doctrine: A Metaphor for the Future of the Media<br />Arts," <em>MAIN</em>; "The Truth and the Need: Jim Hubbard as Curator" in<br /><em>Jim Hubbard, Filmmaker</em>, exh. cat. <em>Brooklyn: Dumba Arts Center</em>;<br />"Films and Videos for a Synthetic Society" with Anie Stanley, in <em>Next<br /></em><em>Sex</em>; "L'Attrape Mouche (Venus Flytrap)" in <em>Turbulences Video #29.</em></p>
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If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
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
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The Venus Flytrap
Description
An account of the resource
<img src="http://pierreyvesclouin.fr/files/original/0f3750640c4a7dccd77d6c48e0cff454.jpg" alt="" width="400px" /><br />Rajendra Roy publishes a review on videos by Pierre Yves Clouin in Turbulences (Videoformes)
Date
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2000-10-02
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<a title="C'EST LE VEAU QUI BÊLE" href="http://pierreyvesclouin.fr/items/show/107" target="_self"><em>C'est le veau qui bêle</em> (The bleating calf)</a>
Type
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Text
Coverage
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Clermont Ferrand
Rajendra Roy