36 20 823 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 24.5 x 31 cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/2c63250b9771e616ffed8b62d1cc1125.jpg" alt="" width="http://pierreyvesclouin.fr/files/original/2c63250b9771e616ffed8b62d1cc1125.jpg" /> Oil on metal Date A point or period of time associated with an event in the lifecycle of the resource 1993-01-07 Rights Information about rights held in and over the resource c Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on metal 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 12 x 36.9 cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/a550d782d00c3ffc272d25fdaa3b6472.jpg" alt="" width="400px" /> Oil on metal Date A point or period of time associated with an event in the lifecycle of the resource 1993-03-02 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on metal 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 15 x 15 cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/4ec36673012eaf23e1f223f2e6c520ab.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-04 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 15 x 15 cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/f92ad4589b062a3dc8f69fa062d259f6.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-07 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 15 x 15cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/8c4eb5b5f165d6d5924733042c1556e0.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-07 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 15 x 15cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/f6e428f40437a220294ec0bf722a6f0b.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-05 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Physical Dimensions The actual physical size of the original image. 15 x 15 cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/b42d1c9c23dd38e44b5686709b0454bf.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-06 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 15 x 15 cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/ee585bc6fdcb302e31f482096e1ed870.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-06 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 23,5 x 17,5cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/a07aa84d968200f3c12cb0f17be9f123.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-04 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror 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 Paintings (1985 - 1993) Description An account of the resource Pierre Yves Clouin: paintings (1984 -1993) Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data painting Physical Dimensions The actual physical size of the original image. 15 x 30 cm 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 sans titre Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/457b6cc4f397e298e80359f73b050822.jpg" alt="" width="400px" /> Oil on mirror Date A point or period of time associated with an event in the lifecycle of the resource 1993-06-03 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource StillImage 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 Oil on mirror https://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 https://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 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 https://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 https://pierreyvesclouin.fr/files/original/ecf5b0daad85e57e5aceb35b55bd81fa.pdf 37533d682698958fe37591b5b45c74e4 https://pierreyvesclouin.fr/files/original/88cf3927b5e5e5de21d73d5858e3682c.pdf 280d7525805fdffe811477babb9d19c6 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. <a title="WORKMAN" href="http://pierreyvesclouin.fr/items/show/99" target="_self">WORKMAN</a>  <a title="switch2" href="http://pierreyvesclouin.fr/items/show/109" target="_self">"La nuit de la pleine lune"</a> Cette programmation fut diffusée sur Arte vers minuit, un soir de pleine lune. Cʼest une des plus belle idée quʼait eu la télévision. Je voudrais en profiter pour féliciter ses concepteurs, Claire Doutriaux et Paul Ouazan. Moi qui dʼhabitude ai plutôt tendance à maudire la télé, cette machine à décerveler les gens… Je me souviens avoir lu une phrase de lʼinventeur de lʼart vidéo, Nam June Paik, qui disait “Moon is the oldest TV” ( la lune est la plus ancienne télé). Pour moi, la poésie électronique cʼest danser avec les astres, chanter avec les étoiles… sinon, autant faire des films publicitaires. Ce programme a été dessiné comme une constellation. Toutes ces étoiles (Guiton, Mocik, Wegman, Clouin, Smith…) sont là pour accompagner, répondre, dialoguer avec ce petit joyau de Nelson Sullivan. Je ne le connaissais pas. Quelle merveille. Cʼest le plus époustouflant autofilmage que je nʼai jamais vu. Nelson est omniprésent, et pourtant cʼest le monde quʼil filme, son monde, ses ami(e)s, et quelque part nous-même. Cʼest tendre et en même temps terriblement tragique. Bien entendu, il faut voir les six épisodes pour apprécier “La dernière promenade de Nelson” qui donne un relief surprenant à lʼensemble. Ce sont les dernières vidéo de Sullivan." Gilda Edward (Etudiante) in Programme 1999 Archive : Les Instants Vidéo Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data html 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 WORKMAN in switch2 on arte Description An account of the resource <a href="https://pierreyvesclouin.fr/items/show/108"><a title="Workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a></a> in <a href="https://pierreyvesclouin.fr/items/show/108">switch2</a> on arte, text by Gilda Edward in 24-25, les instants videos 99 Date A point or period of time associated with an event in the lifecycle of the resource 2010-10-26 Relation A related resource <a title="Workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a>, <a title="switch2" href="https://pierreyvesclouin.fr/items/show/108">switch 2</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 Paris 24-25 https://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 https://pierreyvesclouin.fr/files/original/4c89e1bdaab2c826c4227964631482dd.pdf 8fe00d07536209c05ad47b23e556c3ab Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. 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 Court, calme et troublant Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/737f9fa8edde40083108d659d3cd9efc.jpg" alt="" width="400px" /> Ger Zielinski publishes a review on video works by Pierre Yves Clouin (fr) in Turbulences (Videoformes) n°29, October 2000 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="SHORT, QUIET AND DISTURBING ON RECENT VIDEO WORK BY PIERRE YVES CLOUIN " href="SHORT,%20QUIET%20AND%20DISTURBING%20%20ON%20RECENT%20VIDEO%20WORK%20BY%20PIERRE%20YVES%20CLOUIN%20%20" target="_self">SHORT, QUIET AND DISTURBING ON RECENT VIDEO WORK BY PIERRE YVES CLOUIN</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 Ger Zielinski https://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 https://pierreyvesclouin.fr/files/original/ceaed1140abb2bc7569c512b8c65a976.pdf a9eee6e32e09dd17a93c455cc0154318 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. Ger Zielinski Short, Quiet and Disturbing On Recent Video Work by Pierre Yves Clouin My first brush with Clouin was seeing his video <a title="Cul en l'air" href="http://pierreyvesclouin.fr/items/show/103" target="_self">MY LEVITATING BUTT (Cul en l'air)</a> (1997), a sharp short that shoots from tle hip and reveals several of the artist's concerns. Butt is composed of a single shot containing now and then part of the artist's body. The work opens with the actor/artist apparendy lying on the floor for a few moments nearly naked, clad merely in a skimpy jockstrap. He then slaps his butt and begins to levitate, legs curled up and hidden from the camera, exposing only his back, subtly bobbing upwards and magically tansforming into what appears to be the giant head of a fully erect penis, eventually escaping out of the top of the screen. The image is centred, symmetrical, simple.The body is Platonic in its self discipline, its certainty, its athleticism, its lean, taut muscles, always a pleasure to uncover, to view. The movement of the body across the frame is forever steady, precise. Nothing wasted, nothing extraneous. The sound is raw, from the studio in which the tape was shot, apparendy unmanipulated and direct. Thematically, the work addresses vision and the gaze through framing devices and the male body, but the accent is equally on the male figure and the representation of gay male sexuality. These elements return in various combinations and balances in Clouin's more recent work. On his artistic practice Clouin notes, “Alone in front of the camera, and without word, I spy on myself in the monitor during the action. I am double: seer and seen." This excerpt captures and accurately accounts for several elements characterizing his work. In particular, the strong, successful play with framing is reminiscent of Warhol's provocative film Blow Job (1963) in which only an actor's face and upper body are in view. The putative offscreen action is fellatio. From the tide and the actor's expressions and sounds the viewer is left to decide whether the action in fact took place. No visual closure to this simple narrative is offered. the action's factuality is left inderterminate. While Clouin's use of framing to create ambivalence and emotional tension sometimes ends in narative resolution, sometimes the ambivalence remains. another of many influences on Clouin's approach to relating his body and technological medium in Vito Acconci's work. The concern with acknoleging the medium itself through its most fundamental devices, such as a frame and direct sound, is common to both. Unsettling or disturbing the viewer by situating him as voyeur is also a strongly shared motif. However, one important difference between these video artists is that Clouin never speaks or verbally addresses the viewer directly. His work is largely visual in nature and quiet, with some direct environmental sound, but never spoken language. The wit inherent in his visual bodily play owes a little to the notion of ostranenie or making the banal strange, coined by the early Russian avant-garde. A riddle of sorts is often posed to the viewer before he even recognizes it as such a way as to mislead the audience into assuming they know what is displayed until the situation is carefully, subtlly changed, the framing is altered, the body is moved, to reveal the mistake, misperception, misunderstanding. A gentle but disturbing subversion of learned viewingng habits, lazy epistemologly. Both <a title="cowboy" href="http://pierreyvesclouin.fr/items/show/97" target="_self">COWBOY</a> (1998) and <a title="diana texas" href="http://pierreyvesclouin.fr/items/show/90" target="_self">DIANA TEXAS</a> (1999) I selected to be part of a program of artists' film and video called DRAGGED OUT: A STUDIED GLANCE AT CURRENT RADICAL DRAG (at Toronto's Pleasure Dome in 1999. The aim of the show was to inspect the outer boundaries of (radical?) drag mainly by artists. While neither of Clouin's tapes was intended as a drag tape, to be sure, they fit superbly in the program, perhaps for that very reason. <a title="cowboy" href="http://pierreyvesclouin.fr/items/show/97" target="_self">COWBOY</a> is a single shot of the kneeling artist's naked thighs, butt, and scrotum from behind, centred and in triangular stance with bright sunlight spilling into the studio before him and street sounds just barely audible. The viewer wonders what the actor is doing. Curiously sunning himself, urinating while kneeling, masturbating? He manipulates his scrotum with his hands, forming a silhouette of what may be discerned as bovine teats. Here it is not a question of crossdressing but of species crossing without any sophisticated camouflage but simply the actor/artist's body, light and camera. The movement and eventual revelation of feigned teats are droll and serve well Clouin's accompanying caption for this video, "In just a lonesome cowboy with gorgeous teats." In his <a title="Diana Texas" href="http://pierreyvesclouin.fr/items/show/90" target="_self">DIANA TEXAS</a> we see first a composition of the chest and hands of someone-in fact, the artist-lying in a t-shirt, apparently with breasts. The actor/artist lights a cigarette with a match, accompanied by raw sound. His hands begin to fondle the “breasts" erotically and in turn unscrew their tips and begin ringing them, which thereby reveals their practical nature as desktop bells. He then slides the breasts-bells around under his shirt while ringing them to a near visual and aural frenzy. With his glasses on he briefly peers into the camera, and finally readjusts the bells to better simulate once again a female chest to bring the tape to a close. <a title="DIANA TEXAS" href="http://pierreyvesclouin.fr/items/show/90" target="_self">DIANA TEXAS</a> seems a sort of feminist video, a veritable parody of straight male porn or more generally the representation of women and their objectification; here the feigned selferoticism as in pornography is merely posed for the camera and the inferred viewer/voyeur, but thoroughly disrupted by the excessive movement and ringing. <a title="KANGAROO" href="http://pierreyvesclouin.fr/items/show/96" target="_self">KANGAROO</a> ( 1998) provokes the viewer through its impossible, unresolved nature, while <a title="CARNISSUS " href="http://pierreyvesclouin.fr/items/show/93" target="_self">CARNISSUS </a>(1999) continues the play with ambivalence but at the threshold of light. <a title="KANGAROO" href="http://pierreyvesclouin.fr/items/show/96" target="_self">KANGAROO</a> has its own curious pouch-ostensibly a human butt-which fills the screen and out of which toils arduously and incredulously a hand with heavybreathing on the sound track. The hand once outside reaches to lind some cloth near the camera lens and then flicks its fingers at the lens which signals the end of the video. An audacious example of a sort of reverse fist fuck, wittily turned inside out? The "butt" is so convincing that I am still unsure with which other body parts Clouin achieved such a fine simulation. I am left wondering and in wonder. With clear references to the myth of Narcissus and "carne" (flesh), <a title="CARNISSUS" href="http://pierreyvesclouin.fr/items/show/93" target="_self">CARNISSUS</a> lives at the edge, the threshold of light, of reflection. The video image is dark and difficult to discern but intrigues and holds the attention of the viewer. One hears water dripping, with added manipulation to achieve an echoing sound, supporting the theme of reflection. One also hears passionate kissing which one associates witl the shadowy figures inthe frame. One eventually recognizes the kissing partner of the male ligure as the figure's very own reflection in a mirror. The darkness of the screen, images nearly indiscernible, entices the viewer into prolonged voyeuristic activity, a drive to see, touncover, to witness, to know. One video that stands quite alone in Clouin's recent work is <a title="Mon lapin bleu" href="https://pierreyvesclouin.fr/items/show/1352">HONNEY BUNNY (Mon lapin bleu)</a>(1999), breaking with a few of the artist's stylistic and structural devices. BUNNY is lighter in tone than the others, even whimsical. It opens with a shot of the actor, the artist himself, sitting naked on a stuffed toy bunny, crotch to crotch. He bounces in that position moving about the floor of the studio, perhaps simulating some frisky sex,which is then interrupted by the titles of the piece. The final (and humorous) shot is of the bunny as a top, mounting the actor/artist. Here Clouin's carnal perplexity and subtle framing are forsaken. The strange and banal mass-produced, interchangeable stuffed bunny in this video becomes a sex object, a children's toy, a fetish. Kinky, indeed.The brisk movement of the actor and bunny subverts the darker consequences of all this, but the subtext pointing to the commodification of desire and sexuality remains. Reminiscent of the earlier Butt, among others, in depth and quality, Clouin's <a title="THE LITTLE BIG " href="http://pierreyvesclouin.fr/items/show/11" target="_self">THE LITTLE BIG</a> (1999) ranks as one of my favourites of his videos. This tape begins with the image of an apparent butt, sound the sound of a match being lit, and watersounds that may signify the setting of a bathroom. A hand caresses the butt, but also appears much larger in scale. With the heavy breathing we wonder what sort of sexual activity is being performed on the other, hidden side. Piquing our voyeuristic curiosity, we wonder about fellatio, masturbation, etc. The actor's dangling balls appear to jut visibly from the base of his butt. This action is sustained over a few seconds, allowing the viewer to become misled in his confident mechanisms of recognition, identiification and empathy. The butt unravels surprisingly into shoulder blades, balls into butt. Camera angle revealed. Assumptions destroyed. Match struck and cigarette lit. Surveying several of Clouin's recent videos reveals a concise portrait of an artist and his work very successfully situated in traditions carved out by such artists as Warhol and Acconci, among others, but with important differences in approach to his medium and treatrnent of his thermes and concerns. Clouin pushes video art in avery reflexive direction. Not only is medium specificity, i.e. video as video, constant, but also the thematic concern with looking and the gaze. He constitutes the voyeur through his clever framing of his body and proceeds to dispel his assumptions, thereby making the banal ever so strange. Clouin'swork challenges and provokes the audience into seeing particularly the male body anew and more generally into rethinking our presumed and lazy habits of perceiving. Work truly short, quiet and disturbing. The way I Iike it. Ger Zielinski lectures on contemporary aenhetics and theories of art, film and new media work inthe School of Image Arts, Ryerson Polyechnic University, Toronto. He also lectures at universities and festivals in Europe and North America, and publishes criticism regularly in Paruchute and Lola, among other art mags. Ger curates for Toronto's Pleasure Dome. 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 Short, Quiet and Disturbing On Recent Video Work by Pierre Yves Clouin Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/0cb328422161c50f84bd0d0e3d4874fb.jpg" alt="" width="400px" /> Ger Zielinski publishes a review on video works by Pierre Yves Clouin in Trade Date A point or period of time associated with an event in the lifecycle of the resource 2001-05-05 Relation A related resource <ul> <li><a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air (My Levitating Butt)</a></li> <li><a title=""Diana Texas" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/90" target="_self">Diana Texas</a></li> <li><a title=""Mon Lapin Bleu" by Pierre Yves Clouin" href="https://pierreyvesclouin.fr/items/show/1352">Mon lapin bleu</a></li> <li><a title=""Kangaroo" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a></li> <li><a title="The Little Big" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big</a></li> <li><a title=""Cowboy" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/97" target="_self">Cowboy</a></li> <li><a title=""carnissus" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/93" target="_self">Carnissus</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 Toronto Ger Zielinki https://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