1
20
144
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:02:47
Director
Name (or names) of the person who produced the video.
Pierre Yves clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Rain Again
Description
An account of the resource
<a href="https://drive.google.com/file/d/1BoiMWzLWDfqy6vj9sjsrdWeuT1Nd9UnT/view?usp=sharing"><img title="Rain Again" src="https://pierreyvesclouin.fr/files/original/0d43e1b3b01cb15786c135496f21c60d.jpeg" alt="" width="400px" /></a><br />Here it comes<br /><br /><span>I filmed the reflection of the city and the sky on the rain-soaked ground as I walked.</span><br /><span>Everything (a bicycle, a tree trunk, a bench, etc.) which in each shot, on the ground did not reflect, was removed which</span><br /><span>causes this assembly of heterogeneous screens.<br /><br />"He creates films by filming, not by writing, no scenario or plan beforehand.<br />The distance between the filmed object and his eye and the camera is primordial. It's a question of point of view.<br />We know what we are looking at and we are always fully aware of what we see.<br />But there are short moments of bewitchment , when we can objectively identify and contemplate what we see, all the while imaging it to be something entirely different."<br /><a href="https://ruxandra-mitache.com/murmurcontemporary/">murmurcontemporary,</a> April 2024, Montreux, Switzerland<br /><br /><em>Il crée des films en filmant, pas en écrivant, aucun scénario ni plan avant.</em><br /><em>La distance entre l'objet filmé et son oeil et la caméra est primordiale. C'est une question de point de vue.</em><br /><em>Nous savons ce que nous regardons et nous sommes toujours pleinement conscients de ce que nous voyons.</em><br /><em>Mais il y a de courts moments d'envoûtement, où nous pouvons identifier et contempler objectivement ce que nous voyons, tout en l'imaginant comme quelque chose de complètement différent.</em><br /><a href="https://ruxandra-mitache.com/murmurcontemporary/">murmurcontemporary</a><br /><br /></span>Best Experimental Film, <span><a href="https://pierreyvesclouin.fr/items/show/1656">Aasha International Film Festival</a>, Nashik, Maharashtra, India</span><br />Best Experimental Short Film, <a href="https://pierreyvesclouin.fr/items/show/1635">Bharatha Desam<br />International Film Festival</a><span>, Chennai, Tamil Nadu, India</span><br /><strong>exhibitions and screenings of "Rain Again":</strong> <br /><strong><strong>2024<br /></strong></strong>- <a href="https://pierreyvesclouin.fr/items/show/1658">Melting Walls Volume1 at murmurcontemporary </a>(exhibition), Montreux, <span>Switzerland</span><br /><strong><strong>-</strong></strong> <a href="https://chicagofilmmakers.org/">Saturday's Open Screening with Chicago Filmmakers!</a>, Chicago, IL, USA<strong><strong><br /></strong></strong>- <span><a href="https://pierreyvesclouin.fr/items/show/1656">Aasha International Film Festival</a>, Nashik, Maharashtra, India</span><br /><strong><strong>2023<br /></strong></strong>- <a href="https://pierreyvesclouin.fr/items/show/1637">International Video Art Forum</a>, <span>Al-Ahsa</span>, Saudi Arabia<strong><strong><br /></strong></strong>- <a href="https://pierreyvesclouin.fr/items/show/1653">Festival Video nodoCARACAS,</a> Caracas, Venezuela<br />- <a href="https://pierreyvesclouin.fr/items/show/1640">Expephab</a> (online), Marseille, France<br /><strong>- </strong><a href="https://pierreyvesclouin.fr/items/show/1647">Beijing International Short Film Festival</a>, Beijing, China<br />- <a href="https://pierreyvesclouin.fr/items/show/1635">Bharatha Desam International Film Festival</a>, Chennai, Tamil Nadu, India
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:02:18
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>La fête est finie</em> (The Party's Over)
Description
An account of the resource
<img title="TheVerybigboy" src="https://pierreyvesclouin.fr/files/original/2d951644c50adf42db5aba8a8bac173b.jpeg" alt="" width="400px" /><br />too late<br /><br /><strong><span class="style_2">exhibitions and screenings of "La fête est finie ( (The Party's Over)":<br /></span>2023<br /><br /></strong><a href="https://pierreyvesclouin.fr/items/show/1613">Triple Axel Competition,<span> </span></a><span><a href="https://pierreyvesclouin.fr/items/show/1613">39th Kurzfilm Festival Hamburg</a>, Hamburg, Germany</span>
Date
A point or period of time associated with an event in the lifecycle of the resource
2023-01-02
Type
The nature or genre of the resource
Moving Image
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:00
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Very Big Boy (<em>Le très grand garçon</em>)
Description
An account of the resource
<img title="mon lapin bleu" src="https://pierreyvesclouin.fr/files/original/0a426f2a38504079c5905beb8690ff4b.jpeg" alt="" width="400px" /><br /><br /><em>Là haut<br /></em>Up there<em><br /></em><br /><strong><span class="style_2">exhibitions and screenings of "The Very Big Boy":<br /></span>2023<br /></strong><a href="https://pierreyvesclouin.fr/items/show/1623">MISTER VORKY,</a> International Festival of Cinema Art, Ruma, Serbia<strong><span class="style"><br /></span></strong><span class="style"><a href="https://pierreyvesclouin.fr/items/show/1615">One Shot 21th International Short Film Festival,</a> Yerevan, Armenia<br /><a href="https://pierreyvesclouin.fr/items/show/1617">31st Croatian One-Minute Film Festival</a><span>, Pozega, Croatia</span></span><strong><br /></strong><a href="http://www.festivaldominuto.com.br/en/contents/52201">1 Minuto Film Festival</a>, <span>São Paulo, Brazil</span><em><br /><br /><br /></em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2023-01-02
Type
The nature or genre of the resource
Moving Image
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:02:25
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
D'un bord à l'autre
Description
An account of the resource
<a href="https://www.dailymotion.com/video/k1ZnRB4TgG9vSDyV8io"><img title="SantaDev" src="https://pierreyvesclouin.fr/files/original/87a9ada1ef819e0093d3a960df345e0e.jpeg" alt="" width="400px" /></a><br />cliquez <a href="click%20here or on the photo to see the film">i</a><a href="https://www.dailymotion.com/video/k1ZnRB4TgG9vSDyV8io">ci </a>ou sur la <a href="https://www.dailymotion.com/video/k1ZnRB4TgG9vSDyV8io">photo</a> pour voir le film<br />click <a href="https://www.dailymotion.com/video/k1ZnRB4TgG9vSDyV8io">here </a>or on the <a href="https://www.dailymotion.com/video/k1ZnRB4TgG9vSDyV8io">photo</a> to see the film<br /><br />Crossing
Type
The nature or genre of the resource
Moving Image
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
Date
A point or period of time associated with an event in the lifecycle of the resource
2021
Rights
Information about rights held in and over the resource
© PY Clouin
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
0:01:58
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Duo par la Prima (Duet by The Prima)
Description
An account of the resource
<a href="https://dai.ly/k2wDI3bgcJvDV9yVE2f"><em><img title="Duo Pour la Prima" src="https://pierreyvesclouin.fr/files/original/0073dc10601980852f5aab0618ccf2f8.jpeg" alt="" width="400px" /></em></a><br /><em>cliquez <a href="https://dai.ly/k2wDI3bgcJvDV9yVE2f">ici</a> ou sur la <a href="https://dai.ly/k2wDI3bgcJvDV9yVE2f">photo</a> pour voir le film</em><br />click <a href="https://dai.ly/k2wDI3bgcJvDV9yVE2f">here</a> or on the <a href="https://dai.ly/k2wDI3bgcJvDV9yVE2f">photo</a> to see the film<br /><br />The flower duet (Lakmé by Léo Delibes on a libretto by Edmond Gondinet and Philippe Gille) By an anonymous singer near the dome of Panthéon in Paris <br />Under the thick dome, where the white jasmine Assembles at the rose, On the river of flowers, laughing in the morning. Come, let's descend together. Gently, let's slip Around its charming flood. Let's follow the fleeing current With one careless hand let's reach for the bank, Come, let's find the bank Where the source sleeps. And the birds, the birds sing. Under the thick dome, Under the white jasmine, Let's descend together.
Date
A point or period of time associated with an event in the lifecycle of the resource
2022
Type
The nature or genre of the resource
Moving Image
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
-
https://pierreyvesclouin.fr/files/original/e9d0d0b1877465fcc6a6750d2c1ccf94.JPG
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https://pierreyvesclouin.fr/files/original/1389058b7e999e21e6ce159c0d4e8b13.pdf
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:00
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Assis (Seated)
Description
An account of the resource
<img title="Hole" src="https://pierreyvesclouin.fr/files/original/42f02c40e9f8b4aec21c003399ff2a54.jpeg" alt="" width="400px" /><br /><span><span><em>sur la cime des arbres</em> <br />on the treetops<br /><br /><span class="style">"Pierre Yves Clouin's films are delicate, patient, and private. He finds frames that withhold everything that is. An imagination activation." - Greg Jenkins, The New Arts Foundation<br /><br />"Les films de Pierre Yves Clouin sont délicats, patients et privés. Il trouve des cadres qui retiennent tout ce qui est. Une activation de l’imagination." - Greg Jenkins, The New Arts Foundation</span><br /><br /><a href="https://pierreyvesclouin.fr/items/show/1605">Nominee for Best Experimental International (1:00-5:00 Minutes Category), Couch Film Festival,</a> Toronto, Canada<br /></span></span>
<p><a href="https://pierreyvesclouin.fr/items/show/1603">Nominee for Best Experimental and Best Cinematography, Ultra Short Category</a>, Alternative Film Festival, spring edition (March 2023), Toronto, Canada<br /><a href="https://pierreyvesclouin.fr/items/show/1506">Special Jury Award, Best Experimental Short Film, Santa Dev International Film Festival </a><a href="https://pierreyvesclouin.fr/items/show/1503">(December 2022)</a>, Tamil Nadu, India<br /><a href="https://pierreyvesclouin.fr/items/show/1503">Best One Minute Short Film,</a><a href="https://pierreyvesclouin.fr/items/show/1503"> </a><a href="https://pierreyvesclouin.fr/items/show/1503">Thilsri International Film Festival </a><a href="https://pierreyvesclouin.fr/items/show/1503">(December 2022)</a>, Talmil Nadu, India </p>
<span><span><strong>exhibitions and screenings of Assis (Seated)<br />2024<br /></strong>- <em><a href="https://pierreyvesclouin.fr/items/show/1660">Bleu Paris Film Festival - Off,</a></em> Le Luminor Hotel de Ville, Paris.<br /></span></span><span><strong>2023<br /></strong>- <span class="style"><a href="https://pierreyvesclouin.fr/items/show/1649">Black Cat Award International Film Festival,</a> La Paz, Bolivia</span><strong><br /></strong>- "<span class="style"><a href="https://pierreyvesclouin.fr/items/show/1628">moving images are still images</a>," curated by Greg Jenkins Produced by The New Arts Foundation, LA Art Week, Los Angeles, CA, USA</span><strong><br /></strong>- <a href="https://pierreyvesclouin.fr/items/show/1623">MISTER VORKY,</a> International Festival of Cinema Art, Ruma, Serbia<strong><br /></strong>-<a href="https://pierreyvesclouin.fr/items/show/1619"> 5th edition of the Montenegrian online smartphone international film festival (MOSIFF)</a>, Podgorica, Montenegro<br /><strong>- </strong><a href="https://pierreyvesclouin.fr/items/show/1621">Azores Fringe Festival</a>, Azores, Portugal<strong><br /></strong>-<a href="https://pierreyvesclouin.fr/items/show/1496"> One Minutes Collection and BOLOHO Series</a>, exhibition at <a href="https://pierreyvesclouin.fr/items/show/1496"> Chinese European Art Center (CEAC)</a>, Xiamen, China<br />- <a href="https://pierreyvesclouin.fr/items/show/1605">Nominee for Best Experimental International (1:00-5:00 Minutes Category), Couch Film Festival,</a> Toronto, Canada<br />- <a href="https://pierreyvesclouin.fr/items/show/1603">Nominee for Best Experimental and Best Cinematography, Ultra Short Category</a>, Alternative Film Festival, spring edition, Toronto, Canada<br />- <a href="https://pierreyvesclouin.fr/items/show/1515"><em>Bleu Paris festival de court-métrage Le Luminor Hotel de Ville</em></a>, Paris, France<br />- <a href="https://pierreyvesclouin.fr/items/show/1496"> One Minutes Collection and BOLOHO Series</a> exhibition East East, Science Museum, Tokyo, Japan<br /><a href="https://easteast.org/2023/">- East East</a>, screens Shibuya Crossing and Shinjuku, Tokyo, Japan<br /><strong>- </strong><a href="http://www.festivaldominuto.com.br/en/contents/52200">1 Minuto Film Festival</a>, São Paulo, Brazil<strong><br />2022<br /></strong>-<a href="https://pierreyvesclouin.fr/items/show/1506"> Santa Dev International Film Festival</a>, Tamil Nadu, India<strong><br /></strong>- <a href="https://pierreyvesclouin.fr/items/show/1503">Thilsri International Film Festival, </a>Karaikudi, Talmil Nadu, India <br />- <a href="https://pierreyvesclouin.fr/items/show/1496">One Minutes Collection and BOLOHO Series, <span class="title">Het Nieuwe Instituut (online),</span></a><span class="title"> Rotterdam, NL</span><br />- <a href="https://pierreyvesclouin.fr/items/show/1496">One Minutes Collection and BOLOHO Series</a>, BOLOHO Space in Guangzhou, China<br /></span>
Date
A point or period of time associated with an event in the lifecycle of the resource
2022
Type
The nature or genre of the resource
Moving Image
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
-
https://pierreyvesclouin.fr/files/original/6b145a159d152b2fd582cf8a5c8cbbb0.mov
7ea6f4ec28a6e185115ec73d9f5d653f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:08
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
1 Minute
Description
An account of the resource
<a href="https://dai.ly/k4PsAioxvabBJgyV8qv"><img title="SantaDev" src="https://pierreyvesclouin.fr/files/original/6b72fc45c385155ef2b034976e828f23.jpeg" alt="" width="400px" /></a><br /><br />cliquez <a href="https://dai.ly/k4PsAioxvabBJgyV8qv">ici</a> ou sur la <a href="https://dai.ly/k4PsAioxvabBJgyV8qv">photo</a> pour voir le film<br />click<a href="https://dai.ly/k4PsAioxvabBJgyV8qv"> here</a> or on the <a href="https://dai.ly/k4PsAioxvabBJgyV8qv">photo</a> to see the film<br /><br />in <a href="https://zoeken.beeldengeluid.nl/search/program?aliases.terms=(titles:the%20one%20minutes)&facet.asset.category@asset=dgtl&facet.nisv.collectionsgroup/collectionsgroup.dir@program=urn:vme:default:directory:collections-group:50000%20OR%20urn:vme:default:directory:collections-group:50001%20OR%20urn:vme:default:directory:collections-group:50002%20OR%20urn:vme:default:directory:collections-group:50003%20OR%20urn:vme:default:directory:collections-group:50004%20OR%20urn:vme:default:directory:collections-group:50005%20OR%20urn:vme:default:directory:collections-group:50006&limit=10&offset=0&q=clouin&sort=-nisv.sortdate&x=false"><span class="s1">The One Minutes,<span> </span><span>The Netherlands Institute for Sound and Vision</span></span></a>
Date
A point or period of time associated with an event in the lifecycle of the resource
2014
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
Moving Image
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00.01:34
Director
Name (or names) of the person who produced the video.
Pierre Yves clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hole (Trou)
Description
An account of the resource
<a href="https://dai.ly/k1lKc7AAweooTqyV8A8"><img title="Hole" src="https://pierreyvesclouin.fr/files/original/42301c5debf01d39636002dc0af0c884.jpeg" alt="" width="400px" /></a><br /><em>cliquez <a href="https://dai.ly/k1lKc7AAweooTqyV8A8">ici</a> ou sur la <a href="https://dai.ly/k1lKc7AAweooTqyV8A8">photo</a> pour voir le film<br /></em>click <a href="https://dai.ly/k1lKc7AAweooTqyV8A8">here</a> or on the <a href="https://dai.ly/k1lKc7AAweooTqyV8A8">photo</a> to see the film<em><br /><br />sans fond</em> <br />bottomless<br /><strong>exhibitions and screenings of Hole:<br />2024<br /></strong><a href="https://pierreyvesclouin.fr/items/show/1662">UMW Mediawall's March Rotation</a>, University of Mary Washington, Fredericksburg, VA, USA<strong><br />2023<br /></strong><a href="https://pierreyvesclouin.fr/items/show/1607"><span style="color: #333333;">Esto es Para Esto</span></a><span style="font-family: Arial;"><a href="https://pierreyvesclouin.fr/items/show/1607">, Exhibidora de Cine,</a> Monterrey, </span> Nuevo León, Mexico<strong><br />2022<br /></strong><a href="https://pierreyvesclouin.fr/items/show/1480">VerticalMovie Festival</a>, Casa del Cinema, Rome, Italy<strong><br /></strong><a href="https://pierreyvesclouin.fr/items/show/1478">VertiFilms Mexico ,</a> Tijuana, <span>Baja California,</span> Mexico
Date
A point or period of time associated with an event in the lifecycle of the resource
2022
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:OO
Director
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Pierre Yves Clouin
Dublin Core
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Title
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L'automne (Autumn)
Description
An account of the resource
<a href="https://www.dailymotion.com/video/x8j7ykd"><img title="SantaDev" src="https://pierreyvesclouin.fr/files/original/d9695a1249503ff9c734eb834c0e9c9b.jpeg" alt="" width="400px" /></a><br /><em>cliquez <a href="https://www.dailymotion.com/video/x8j7ykd">ici</a> ou sur la <a href="https://www.dailymotion.com/video/x8j7ykd">photo</a> pour voir le film<br /></em>click <a href="https://www.dailymotion.com/video/x8j7ykd">here</a> or on the <a href="https://www.dailymotion.com/video/x8j7ykd">photo</a> to see the film<em><br /><br /><br />Migration saisonnière d'une nouvelle espèce</em><br />Seasonal migration of a new species<br /><br />
<p><strong><span class="style">exhibitions</span><span class="style">and screenings of "L'automne (Autumn)":<br />2023<br /></span></strong><a href="https://pierreyvesclouin.fr/items/show/1607"><span class="style"><span style="color: #333333;">Esto es Para Esto</span></span></a><span class="style"><span style="font-family: Arial;"><a href="https://pierreyvesclouin.fr/items/show/1607">, Exhibidora de Cine,</a> Monterrey, </span></span><span class="style"> Nuevo León, Mexico<br /><a href="https://pierreyvesclouin.fr/items/show/1623">MISTER VORKY,</a> International Festival of Cinema Art, Ruma, Serbia</span><strong><span class="style"><br /></span></strong><span class="style"><a href="http://www.festivaldominuto.com.br/en/contents/52206">1 Minuto Film Festival</a></span><span class="style">, São Paulo, Brazil</span><strong><span class="style"><br /></span></strong></p>
<p class="paragraph_style_1"><strong>2022<br /><br /></strong><a href="https://pierreyvesclouin.fr/items/show/1463">One Shot Film Festival</a>, Yerevan, Armenia<strong><br /><br /></strong></p>
Date
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2022
Rights
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© PY Clouin
Coverage
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Paris
-
https://pierreyvesclouin.fr/files/original/91369c76b6366515f3b6244cbf40a7cd.mov
2224bdd617d3045599dab1ae31d10d4e
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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Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
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Original Format
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dv
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
OO:01:16
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
<a href="https://drive.google.com/file/d/1BoiMWzLWDfqy6vj9sjsrdWeuT1Nd9UnT/view?usp=sharing"><img title="mon lapin bleu" src="http://pierreyvesclouin.fr/files/original/92a37d42617a107bdb8e1ca1155745c9.jpg" alt="" width="400px" /></a><br />
<h6><a href="https://drive.google.com/file/d/1BoiMWzLWDfqy6vj9sjsrdWeuT1Nd9UnT/view?usp=sharing">Click here or on the photo to see the film</a><br />or you can see "Mon lapin bleu" at the bottom of the page</h6>
<p class="paragraph_style"><span class="style_1">Always begin the workout with a short warm-up<br /></span><em><span class="style_1">La carotte, c’est moi</span></em></p>
<p><strong><span class="style_2">exhibitions and screenings of "Mon Lapin bleu":<br /></span></strong><strong>2010</strong></p>
<ul>
<li><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self">“Extraordinary Men” </a>program curated by Stefan St Laurent, <a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf">Art Star video Biennal,</a> Galerie Saw Gallery, Ottawa, On, Canada</li>
</ul>
<p class="paragraph_style_3"><strong>2009<span class="style_3"><br /></span></strong></p>
<ul>
<li><a href="https://pierreyvesclouin.fr/items/show/316">“bonbons”</a>, Festival International du court metrage de Lille, Lille, France</li>
</ul>
<p class="paragraph_style_3"><strong>2008 </strong><span class="style_3"><br /></span></p>
<ul>
<li><a title="http://www.monkeytownhq.com/12_27_08LATE.html" href="http://www.monkeytownhq.com/12_27_08LATE.html">Monkey Town, Wiliamsburg Brooklyn</a>, NYC, New York, USA</li>
</ul>
<p class="paragraph_style_3"><strong>2006 </strong><span class="style_3"><br /></span></p>
<ul>
<li><a title="Molodist " href="http://pierreyvesclouin.fr/items/show/286" target="_self">Molodist Kyiv International Film Festival</a>, Kiev, Ukraine</li>
</ul>
<p class="paragraph_style_3"><strong>2005 </strong> <span class="style_3"><br /></span></p>
<ul>
<li>San Francisco Cinematheque presents<a href="https://pierreyvesclouin.fr/items/show/159"> "We Cannot exhibit It: The Videos of Pierre Yves Clouin",</a> Yerba Buena Center for the Arts, San Francisco, USA</li>
<li>11th Philadelphia International Gay and Lesbian Film Festival. Philadelphia, USA</li>
</ul>
<p class="paragraph_style_3"><strong>2004</strong><span class="style_3"><br /></span></p>
<ul>
<li>“Transpédégouines is back”, <em><a href="https://pierreyvesclouin.fr/items/show/1330">Festival de Films Gays et Lesbiens de Paris</a>, </em>Forum des Images, Paris, France</li>
</ul>
<p class="paragraph_style_3"><strong>2003</strong><span class="style_3"><br /></span></p>
<ul>
<li><em><a title="vue sur court" href="http://pierreyvesclouin.fr/items/show/646" target="_self"><span class="style_2">Vue sur court,</span></a></em><span class="style_1"><a title="vue sur court" href="http://pierreyvesclouin.fr/items/show/646" target="_self"><span> </span>short film festival</a>,</span> La Rochelle, France</li>
</ul>
<p class="paragraph_style_3"><strong>2002</strong><span class="style_3"><br /></span></p>
<ul>
<li>“Tunnel of love” curated by Maïa Cybelle Carpenter, San Francisco, California, USA</li>
<li><a href="https://pierreyvesclouin.fr/items/show/1447">Melbourne Queer Film Festival</a>, Melbourne, Australia</li>
<li><a href="https://pierreyvesclouin.fr/items/show/1292">16th London Lesbian & Gay Film Festival</a>, BFI, London, UK</li>
<li>8th <a href="https://pierreyvesclouin.fr/items/show/1392">Philadelphia International Gay + Lesbian Film Festival</a>, Philadelphia, USA</li>
<li>2nd Annual Flaming Film Festival presented by Intermedia Arts in Minneapolis, Minnesota, USA</li>
</ul>
<p class="paragraph_style_3"><strong>2001</strong><span class="style_3"><br /></span></p>
<ul>
<li><a href="https://pierreyvesclouin.fr/items/show/193">Mix Brazil tour</a>: "Body and Art" Humberto Mauro Auditorium, Palace of the Arts,Belo Horizonte, Brazil</li>
</ul>
<p class="paragraph_style_3"><strong>2000</strong><span class="style_3"><br /></span></p>
<ul>
<li><a title="play on, nantes 2001" href="http://pierreyvesclouin.fr/items/show/591" target="_self"><em>Corps Accords</em>,</a> Vidéoz'Arts, Nantes, France</li>
<li>12th New Festival, New York City, New York, USA</li>
<li><a title="mix brazil 99" href="https://pierreyvesclouin.fr/items/show/1340">MiX Brasil </a><span>2</span>000 <span class="style_4">8º Festival da Diversidade Sexual, </span>São Paulo, Brazil & Tour</li>
<li><a href="https://pierreyvesclouin.fr/items/show/1405">Reeling 2000</a>, Chicago, Illinois, USA</li>
<li><a href="https://pierreyvesclouin.fr/items/show/1407">11 Lesbisch Schwule Filmtage Hamburg</a>, Hamburg, Germany</li>
<li><a title="image out" href="http://pierreyvesclouin.fr/items/show/173" target="_self">ImageOut, Rochester</a><span>,</span> New York, USA</li>
<li><a href="https://pierreyvesclouin.fr/items/show/178">Outfest </a>2000, Los Angeles, California, USA</li>
<li><a class="style_1" title="http://www.alanphelan.com/alan_norespect/NoRespect/2000images.htm" href="http://www.alanphelan.com/alan_norespect/NoRespect/2000images.htm">“Things We Do,”</a> curated by Patrick Murphy, Arthouse Multimedia Centre for the Arts, Dublin, Ireland</li>
<li>Experimental Program at <a href="https://pierreyvesclouin.fr/items/show/1357">Kino im Shulz</a>, curated by Deni Adzic, Cologne, Germany</li>
<li><a href="https://pierreyvesclouin.fr/items/show/1435">Mardi Gras Film Festival</a>, Sydney, Australia</li>
</ul>
<p class="paragraph_style_3"><strong>1999</strong><span class="style_3"><br /></span></p>
<ul>
<li>Media Non Grata, <a href="https://pierreyvesclouin.fr/items/show/597">offline@online</a> media art festival 2nd edition, E-Media Center, Estonian Academy of Arts, Tallinn, Estonia</li>
<li><a href="https://pierreyvesclouin.fr/items/show/1313">Videoarchaeology</a> / Sofia-Paris Video 1, International Exhibition of Video Art, Sofia, Bulgaria</li>
<li><a href="https://pierreyvesclouin.fr/items/show/1400">Festival International du Cinéma Francophone en Acadie</a>, Moncton, New Brunswick, Canada</li>
</ul>
<p class="p1">"...The wry, reflective, tonal humour of [Kaye Shumack's] powerfully restrained images of the festive season is transposed, in Pierre Yves Clouin's video 'Mon Lapin Bleu' (Honey Bunny), into something more overt and uncontrollable. This is perhaps a necessary negation of the artist's fears concerning the sexual stasis effected by sterile, consumerist definitions of desire. [...] All the works in this exhibition are the results of acts of courage, are in a sense, framed everyday histories of the extraordinarily diverse, multi-desirous human heart. The choice to courageously move beyond assumptions of identity, sexual or otherwise, into the uncharted territory of the transfinite, is one strand in the continuing discourse of others, of which this exhibition is a powerful and empowering instance."<br />Suzanne O'Shea, PhD, "Difficult Beauty: Towards an Art of the Ordinary," in exhibition catalogue <span class="s1">Things We Do</span>, OutArt 2000, Arthouse, Dublin, Ireland.<br />"...Pierre Yves Clouin's one-minute, one-liner video, 'Mon Lapin Bleu' (Honey Bunny), featured a naked man exuberantly mock-copulating and being ass-licked by a big blue teddy-rabbit. At first I thought it was just plain stupid, until I heard that it annoyed the hell out of some of the staff at Arthouse. God, maybe there was something to it after all."<br />Mic Moroney, "out and about: lesbian and gay pride march through irish art galleries," <span class="s1">iVenus.com</span> (week 14), June-July 2000.<br /><a title=""Corporeal Creations" by Sophie Walon" href="http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199981601.001.0001/oxfordhb-9780199981601-e-16" target="_self">Corporeal Creations in Experimental Screendance: Resisting Sociopolitical Constructions of the Body " by Sophie Walon in The Oxford Handbook of Screendance Studies</a><span> Edidited by Douglas Rosenberg, Oxford University Press, 2016<br /></span>This chapter examines experimental screendances that disrupt the traditional notion of the body by constructing bizarre corporealities. The chapter analyzes films that display choreo-cinematic experimentations on body representation, such as those of Thierry De Mey, Laurent Goldring, Antonin De Bemels, Wim Vandekeybus, and Pierre Yves Clouin. These films present unconventional bodies that appear in turns animalistic, oversexualized (or differently sexualized), pathological, monstrous, and unidentifiable, undergoing all sorts of transformations and metamorphoses, thus resisting sociocultural, economic, and political processes of standardization of the body. The chapter argues that these screendance bodies are linked to the philosophical and political conceptualizations of the body by Maurice Merleau-Ponty (“openness to the world,” “corporeality”), Michel Foucault (“biopowers,”), and Gilles Deleuze (“body without organs,” “becomings,” “de-hierarchization of the body”). The chapter develops a reflection on screendance bodies, emphasizing that certain screendances also suggest philosophical and political issues that are embedded in their subversive representations of the body.<br /><em>extraits:<br /></em><em><span class="s1">… J’analyserai des films de danse contemporaine européens (particulierement français et belges) qui expérimentent les représentations du corps - les films des réalisateurs Thierry De Mey, Laurent Goldring et Antonin de Belmels qui travaillent en colaboration avec des chorégraphes, les films du chorégraphe et réalisateur Wim Vandekeybus et ceux du performeur réalisateur Pierre Yves Clouin.<br /></span></em><em><span class="s1">Les travaux de ces artistes dévoilent des corps non conventionnels qui apparaissent comme animaux, ouvertement sexualisés, pathologiques, monstrueux ou inidentifiables et subissent toutes sortes de transformations et de métamorphoses…<br /></span></em><em><span class="s1">… ainsi le contenu de ces films est plus ou moins chorégraphique… Les travaux de Clouin sont plus exactement des vidéos de performances que des films de danse à proprement parler…… Les corps de ces films de danse … peuvent être décodifiés et défamiliarisés (voir les préocupations de Goldring et Clouin quant à la déconstruction des formes et fonctions attendues du corps)...<br /></span></em><em><span class="s1">… de manière similaire l’autoportrait de Clouin lui même dans “</span><a title=""C'est le veau qui bêle" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/107" target="_self">C'est le veau qui bêle</a><span class="s1">”. </span><span class="s1">Par l’imitation du bêlement et le plan en contre plongée qui ne montre que le menton et sa langue, qui apparait régulièrement quand il bêle, la vidéo présente la surprenante image d’une créature hybride à moitié être humain et veau. La confusion est réhaussée par la qualité incertaine de l’image ainsi que par la basse résolution de la vidéo. </span><span class="s1">Et dans <a title=""Cowboy" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/97" target="_self">Cowboy</a>, Clouin apparaît à moitié homme et à moitié vache, filmé de derrière à quatre pattes, l’artiste manipule ses testicules et fait bouger stratégiquement ses doigts pour qu’ils ressemblent à des mamelles…<br /></span></em><em><span class="s1">… Les vidéos expérimentales de Clouin exhibent souvent son corps nu avec une insistance sur ses fesses et ses parties génitales, dans des positions très suggestives et provocatrices. </span>"<a title=""Kangaroo" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a>"<span class="s1">, qui montre une main qui sort de ce qui ressemble être une paire de fesses, semble sous entendre (dans sa version inversée) la pratique sexuelle du fisting. Dans “<a title=""Mon Lapin Bleu" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/89" target="_self">Mon Lapin Bleu</a>”, l’artiste simule de façon comique des relations sexuelles avec un lapin bleu en peluche, dans de multiple positions acrobatiques. Dans “</span><a title=""The Little Big" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big </a><span class="s1">” il semble que nous sont montrées des fesses avant qu’il ne devienne clair que ce sont les épaules et omoplates de l’artiste. Pourtant juste au moment où tout contenu sexuel et toute obscenité semblent être alors exclus par cette prise de conscience, Clouin révèle une scène encore plus audacieuse, après nous avoir dévoilé ses épaules et alors qu’il se penche, nous découvrons qu’il est sur un lit, et ses mouvements suggèrent de toute évidence qu’il se masturbe…<br /></span></em><em><span class="s1">… Dans le "<a title=""Kangaroo" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a>" de Clouin une main émerge de ce qui ressemble à la raie de ses fesses. L’effet est au delà du bizarre, c’est monstrueux: son cul semble donner naissance ou défequer une main. La vidéo de Clouin dérange horriblement les fonctions et emplacements usuels des organes…<br /></span></em><em><span class="s1">… Jouant sur la difficulté à distinguer les différentes parties du corps, certaines vidéos de Clouin éloignent notre perception du corps en déjouant nos attentes et en court-circuitant nos certitudes. "</span><a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a>" commence sur <span class="s1">Clouin qui lèche une ronde et voluptueuse partie du corps, qui, parce qu’on est très près et du fait de l’avidité manifeste de l’artiste, semble être un sein avant que la caméra ne zoome en révelant le bras de Clouin.<br /></span></em><em><span class="s1">Dans “<a title=""workman" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman </a>” , nous ne sommes pas sûrs de ce que nous voyons, le haut du dos de Clouin, des bras et une tête, ou un cul, le bas du dos et des cuisses. La vidéo joue sur cette incertitude: avant que nous ne voyons ses parties génitales et ses genoux (c’est à dire, avant que nous ne sachions qu’il s’agit du cul de l’artiste à l’écran), l’angle de prise de vue nous laisse penser que nous voyons des épaules et sa tête courbée et cachée. A la fin de la vidéo, quand Clouin utilise une serviette, il semble qu’il s’essuie le cou et les cheveux, ce qui à nouveau jette un doute sur la certitude d’avoir vu son cul. Le flou récurrent de l’image et la position persistante de l’artiste, qui bouge à peine, sont aussi déroutantes, ce qui laisse du temps au public pour projeter ses propres visions et attentes sur ce qu’il voit:<br /></span></em><em><span class="s1">“Dans “</span><a title=""workman" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman </a><span class="s1">” nous savons parfaitement que ce sont mes jambes que l’on voit, mais elles agissent comme si elles étaient des bras. aussi par leurs actions, leurs mouvements, elles sont identifiées comme des bras, mais les spectateurs les reconnaissent vraiment comme des jambes. </span><span class="s1">Ce qui est intéressant ici c’est que nous restons très incertains de ce que nous voyons même si toutefois nous en sommes sûrs” </span><span class="s1">(interview non publiée de l'auteur, Mars 2013). </span><span class="s1">De plus, comme la position de Clouin apparaît très peu naturelle pour un être humain et comme il reste dans cette position un long moment, la traditionnelle représentation de la figure humaine comme bipède avec une morphologie clairement organisée vers le haut, en est troublée…<br /></span></em><em><span class="s1">… Les films de Clouin et Goldring, en particulier, déterritorialisent les organes sexuels et les membres. Par exemple, dans “</span><a title=""J'ai des bouche partout" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/88" target="_self">J'ai des bouches partout</a></em><span class="s1"><em>”(1999) qu’il traduit par “I’ve got mouths all over”, Clouin fait que son oreille ressemble à une bouche et suggère qu’elle devienne un organe sexuel, capable d’une fellation. C’est une sorte de déteterritorialisation fantastique de ses organes suivant une logique libidinale de réinvention de sa corporalité comme plus sexuée. Il semble trahir un souhait d’avoir plus d’organes sexuels à explorer et un appel à ce que le corps entier mute en une surface érogène étendue.<br /></em></span>Sophie Walon<br /><br /></p>
<div id="bookContent" class="indexSummary bookSummary summary"></div>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><em><span class="s1"><strong>Extra Ordinary Men</strong></span></em></a></p>
<p class="p1"><em><span class="s1">Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.</span> <br /></em><em><span class="s1">Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin.<br /></span></em><em><span class="s1">Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières œuvres, Clouin explore cet espace précaire où cohabitent public et privé.<br /></span></em><em><span class="s1">Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.<br /></span></em><em><span class="s1">Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.»<br /></span></em><em><span class="s1">Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.<br /></span></em><em><span class="s1">J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.»<br /></span></em><em><span class="s1">Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur.<br /></span></em><em><span class="s1">Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.</span> <br /></em><em><span class="s1">La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante.</span></em></p>
<p class="p1"><em><span class="s1">Stefan St-Laurent, commissaire</span></em></p>
<p class="p1"><em><span class="s1">Traduit de l’anglais par Colette Tougas</span></em></p>
<p class="p1"><em><span class="s1"><strong>Notes</strong></span></em></p>
<ol class="ol1">
<li class="li1"><em><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</span></em></li>
<li class="li1"><em><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a> (visité le 20 octobre 2010).(Notre traduction.</span></em></li>
<li class="li1"><em><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</span></em></li>
</ol>
<p class="p2"><em> </em><span class="s1"><em>Artiste multidisciplinaire et commissaire, <strong>Stefan St-Laurent</strong> est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa.</em><br /><br /></span></p>
<p class="p1"><a href="https://pierreyvesclouin.fr/items/show/12"><span class="s1"><strong>Extra Ordinary Men</strong></span> </a></p>
<p class="p1"><span class="s1">Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could.<br /></span><span class="s1">Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with.<br /></span><span class="s1">In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit.<br /></span><span class="s1">I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime.<br /></span><span class="s1">Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.»<br /></span><span class="s1">A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work.<br /></span><span class="s1">I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2<br /></span><span class="s1">Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur.<br /></span><span class="s1">Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light.<br /></span><span class="s1">This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.</span> <br /><span class="s1">- Stefan St-Laurent, Curator</span></p>
<p class="p1"><span class="s1"><strong>Notes</strong></span></p>
<ol class="ol1">
<li class="li1"><span class="s1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity»,<span> </span><em>Advocate</em>, August 7, 1984.</span></li>
<li class="li1"><span class="s1">Department of Photographs, «Paul Strand (1890 - 1976), « in<span> </span><em>Heilbrunn Timeline of Art History</em>, New York, The Metropolitan Museum of Art, 2000-,<span> </span><a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm"><span class="s2">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</span></a><span> </span>(accessed October 20, 2010)</span></li>
<li class="li1"><span class="s1">Sura Wood, «Exploring the Offbeat World of Experimental Film»<span> </span><em>San Francisco Arts Monthly</em>, April 2005.</span></li>
</ol>
<p class="p2"> <span class="s1"><strong>Stefan St-Laurent,<span> </span></strong>a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front<span class="Apple-converted-space"> <span> </span></span>in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and<span class="Apple-converted-space"> <span> </span></span>Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa.<br /><br /><br /></span></p>
<p><br /><strong><a title="mon lapin bleu" href="http://pierreyvesclouin.fr/items/show/89">MON LAPIN BLEU [My Blue Rabbit]</a><br /><small>dir </small><small>Pierre Yves Clouin • 00/France 1m </small><img src="http://www.shadowsonthewall.co.uk/sastar2.gif" alt="2 out of 5 stars" /><br /></strong>Erm, like PY Clouin's other short here (The Final Touch), this is an absurd silent snippet. But unlike that other one, this is actually oddly funny as it features a naked man wrestling sexually with a big, blue stuffed bunny rabbit ... in front of a Christmas tree! Makes you worry. Hmmm. 16.Apr.02 llgff<br /><a href="https://pierreyvesclouin.fr/items/show/650"><span>Selected documentary shorts from the British Film Institute's 16th London Lesbian & Gay Film Festival 3-17 April 2002.</span></a><br /><a href="https://pierreyvesclouin.fr/items/show/650"><span>Reviews by Rich Cline</span></a></p>
<p><em><br /><br /><a href="https://pierreyvesclouin.fr/items/show/121"><span>Ger Zielinski Short, Quiet and Disturbing On Recent Video Work by Pierre Yves Clouin</span></a><br /><br /><span>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.<br /></span>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="http://pierreyvesclouin.fr/items/show/89" target="_self">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.<br />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.<br />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.<br />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.<br /><br /><a title="Mon lapin bleu" href="http://pierreyvesclouin.fr/items/show/89" target="_self"><strong>Mon lapin bleu</strong></a><span>(1'10" - 1999)</span><br /><span>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.</span><br />Paris, le 10 septembre 2000<br /><strong><a href="https://pierreyvesclouin.fr/items/show/131">Pierre Yves Clouin ou le pacte charnel par Marianne Valio</a></strong><br />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.<br />Publié dans un portrait de Pierre Yves Clouin, “Turbulences vidéo,” #29, automne-hiver 2000 (Clermont-Ferrand, France).<br />© 2000 Marianne Valio / Turbulences vidéo </em></p>
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© Pierre Yves Clouin
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Mon lapin bleu (Honey Bunny)
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Films (1995 - )
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An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:00:25
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>C dessiné</em>
Description
An account of the resource
<a href="https://dai.ly/k5ArBniBFxJ1fWyV8VH"><img title="BleuParis" src="https://pierreyvesclouin.fr/files/original/f59e598e76015c726685b1c1af8f4c3c.jpeg" alt="" width="400px" /></a><br /><em>cliquez <a href="https://dai.ly/k5ArBniBFxJ1fWyV8VH">ici </a>ou sur la <a href="https://dai.ly/k5ArBniBFxJ1fWyV8VH">photo</a> pour voir le film</em><br />click <a href="https://dai.ly/k5ArBniBFxJ1fWyV8VH">here</a> or on the<a href="https://dai.ly/k5ArBniBFxJ1fWyV8VH"> photo</a> to see the film<br /><br /><strong>exhibitions and screenings of C dessiné<br />2022:<br /><a href="http://www.festivaldominuto.com.br/en/contents/51078" title="C dessiné at 1 Minuto">1</a></strong><a href="http://www.festivaldominuto.com.br/en/contents/51078" title="C dessiné at 1 Minuto">Minuto SOS Cinemateca</a><em>, </em>Sao Paulo, Brazil<strong><br /></strong>
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
Date
A point or period of time associated with an event in the lifecycle of the resource
2012
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:02:37
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Installation
Description
An account of the resource
<a href="https://dai.ly/k1d5lw24ZZjMLXyVc0f"><img title="Installation" src="https://pierreyvesclouin.fr/files/original/59804ba5d306be389b2486060118b8a8.jpeg" alt="" width="400px" /></a><br /><em>cliquez <a href="https://dai.ly/k1d5lw24ZZjMLXyVc0f">ici</a> ou sur la <a href="https://dai.ly/k1d5lw24ZZjMLXyVc0f">photo</a> pour voir le film</em><br />click <a href="https://dai.ly/k1d5lw24ZZjMLXyVc0f">here</a> or on the <a href="https://dai.ly/k1d5lw24ZZjMLXyVc0f">photo</a> to see the film<br /><br /><span><em>Comment ça marche. C'est sur le travail d' "installation" d'un marché et son apparence d'"installation" artistique au départ. En suivant les bâtisseurs chargés et fatigués, disposer les éléments, et en accélérant le pas par rapport à eux, à la distance nécessaire, j'ai au final tout le processus du travail du début à la fin en moins de 3 minutes - temps du processus, pas temps du travail. De l'art au travail.</em><br /><br />it works <br />How it works. It's about the work of "installing" a market and how it looks like an artistic "installation" to begin with. By following the loaded and tired builders, arranging the elements, and accelerating the pace in relation to them, at the necessary distance, I finally have the whole process of the work from start to finish in less than 3 minutes - process time, not work time. From art to work.<br /><br /><strong>exhibitions and screenings of Installation<br />2022:<br /></strong>- <a href="https://pierreyvesclouin.fr/items/show/1285">Esto Es Para Esto - Exhibidora de Cine</a><span style="font-family: Arial;">,</span> Monterrey, Nuevo León, Mexico<strong><br />2021:<br /></strong><a href="https://pierreyvesclouin.fr/items/show/1277">- Blackboard International Film Festival</a>, Elambachi, Trikaripur, North Kerala, India<strong><br /></strong><a href="https://pierreyvesclouin.fr/items/show/1269">- 6th International Short Film Festival Pune India 21 (ISFFPI)</a><strong><br /></strong></span>
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
01:53
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Le mur de la santé
Date
A point or period of time associated with an event in the lifecycle of the resource
2021
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
Description
An account of the resource
<a href="https://dai.ly/k3WC0QBJ26iWaRyVvS6"><img title="BleuParis" src="https://pierreyvesclouin.fr/files/original/3461ef4d36992dbe52dbfc18efefa75d.jpeg" alt="" width="400px" /></a><br /><em>cliquez<a href="https://dai.ly/k3WC0QBJ26iWaRyVvS6"> ici</a> ou sur la <a href="https://dai.ly/k3WC0QBJ26iWaRyVvS6">photo</a> pour voir le film</em><br />click <a href="https://dai.ly/k3WC0QBJ26iWaRyVvS6">here</a> or on the <a href="https://dai.ly/k3WC0QBJ26iWaRyVvS6">photo</a> to see the film
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
5K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:02:09
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Aller et venir</em>
Description
An account of the resource
<a href="https://dai.ly/k61QZ79kwEFiUFyVwAj"><img title="aller et venir" src="https://pierreyvesclouin.fr/files/original/0b9c3d3b177ca2709b6137a00333b163.jpeg" alt="" width="400px" /></a><em>cliquez <a href="https://dai.ly/k61QZ79kwEFiUFyVwAj">ici</a> ou sur la <a href="https://dai.ly/k61QZ79kwEFiUFyVwAj">photo</a> pour voir le film</em><br />click <a href="https://dai.ly/k61QZ79kwEFiUFyVwAj">here</a> or on the <a href="https://dai.ly/k61QZ79kwEFiUFyVwAj">photo</a> to see the film
Date
A point or period of time associated with an event in the lifecycle of the resource
2021
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
4K
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:02:49
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Deux Boxeurs et l'Opéra (Two boxers and the Opera)
Description
An account of the resource
<a href="https://dai.ly/k1Q9qL83fz3BdqyVw5x"><img title="2boxeursetL'Opéra" src="https://pierreyvesclouin.fr/files/original/8dc92bb4dc025b2358f6c9336caacac9.jpeg" alt="" width="400px" /></a><br /><em>cliquez <a href="https://dai.ly/k1Q9qL83fz3BdqyVw5x">ici</a> ou sur la <a href="https://dai.ly/k1Q9qL83fz3BdqyVw5x">photo</a> pour voir le film</em><br />click <a href="https://dai.ly/k1Q9qL83fz3BdqyVw5x">here</a> or on the <a href="https://dai.ly/k1Q9qL83fz3BdqyVw5x">photo</a> to see the film<br /><br /><em>Deux Boxeurs et l'Opéra</em> (Two boxers and the Opera)
Date
A point or period of time associated with an event in the lifecycle of the resource
2021
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
-
https://pierreyvesclouin.fr/files/original/27d3ee1f29cd71c1841862944ddc5db7.mov
b53b3f5659f4b16041e66ca4f89197de
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
4k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:06
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Sketch
Description
An account of the resource
<img title="BleuParis" src="https://pierreyvesclouin.fr/files/original/d069213149ad102beb58e60e19c45cc4.jpg" alt="" width="400px" /><br /><strong>You can see the film at the bottom of the page</strong><br /><br /><em>Ceci n'est pas un croquis</em>
Type
The nature or genre of the resource
Moving Image
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
-
https://pierreyvesclouin.fr/files/original/b01831d426d3e4544fd5bbda06917a25.mov
4ff0be029f31d80233b019a7c0e5164c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
4k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:14
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
L'épée (The Sword)
Description
An account of the resource
<img title="L'épée" src="https://pierreyvesclouin.fr/files/original/8f32f054f3283559d8890cd55245332c.jpg" alt="" width="400px" /><br /><br />You can see the film at the bottom of the page
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
Type
The nature or genre of the resource
Moving Image
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
4k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:17
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Join The Herd
Description
An account of the resource
<a href="https://dai.ly/k3YaTJo2KMI5NmyV94o"><img title="JointheHerd" src="https://pierreyvesclouin.fr/files/original/deb504ae4cfb9ecf7f93937893b79326.jpg" alt="" width="400px" /></a><br /><em>cliquez <a href="https://dai.ly/k3YaTJo2KMI5NmyV94o">ici</a> ou sur la <a href="https://dai.ly/k3YaTJo2KMI5NmyV94o">photo</a> pour voir le film<br /></em>click <a href="https://dai.ly/k3YaTJo2KMI5NmyV94o">here</a> or on the <a href="https://dai.ly/k3YaTJo2KMI5NmyV94o">photo</a> to see the film<em><br /></em><br /><em>Faire la nouille<strong><br /></strong></em>Being a noodle<em><strong><br /></strong></em><a href="https://pierreyvesclouin.fr/items/show/1501">Favourite 2022 of Exploding Cinema</a>, Arthouse, Jersey, UK<em><strong><br /></strong></em><em><br /></em><strong><strong><strong>exhibitions and screenings of Join The Herd<br />2023<br /></strong></strong></strong>- <a href="https://pierreyvesclouin.fr/items/show/1643">RISC (Rencontres Internationales Sciences et Cinémas)</a>, Marseille, France<strong><strong><strong><br />2022<br /></strong></strong></strong>- <a href="https://pierreyvesclouin.fr/items/show/1501">Favourites 2022 of Exploding Cinema</a>, Arthouse, Jersey, UK<strong><strong><strong><br /></strong></strong></strong>-<a href="https://pierreyvesclouin.fr/items/show/1471"> <em>Les Inattendus</em></a><em> - Festival de films hors normes</em>, Lyon, France<br />- <span class="" style="color: #371a94;"><a href="https://pierreyvesclouin.fr/items/show/1490" class="">Mobile Cinema</a> </span><span class="">(Deptford X Fringe)</span>, London, UK<strong><strong><br /></strong></strong>- <span> <a href="https://pierreyvesclouin.fr/items/show/1285">Esto Es Para Esto - Exhibidora de Cine</a></span>, Monterrey, Nuevo León, Mexico<strong><strong><br />- </strong></strong><a href="https://pierreyvesclouin.fr/items/show/1293">Exploding Cinema at the Cinema Museum, </a>London, UK<strong><strong><br />2021<br />- </strong></strong><a href="http://interface-festival.com/">Interface Video Art Festival</a> , Zagreb, Croatia<strong><strong><br /></strong></strong>- <a href="https://pierreyvesclouin.fr/items/show/1265">VII Festival Video nodoCCS</a>, Caracas, Venezuela<br />-<span> <a href="https://pierreyvesclouin.fr/items/show/1258"><em>34th Instants Vidéo - Rencontres Internationales, La Friche Belle de Mai, </em></a>Marseille, France</span><strong><br /></strong>- <a href="https://pierreyvesclouin.fr/items/show/1253">"One Shot" International Short Film Festival,</a> Yerevan, Armenia<strong></strong><strong><br /></strong>-<a href="https://pierreyvesclouin.fr/items/show/1247"> International Video Art Forum at Almashtal Space</a>, Riyadh, Saudi Arabia<strong><br /></strong>- <a href="https://pierreyvesclouin.fr/items/show/1243">International Video Art Forum</a>, Dammam, Saoudi Arabia<em><br /><a href="https://pierreyvesclouin.fr/items/show/1234" title="traverse 2021">- XXIVe Rencontres Internationales Traverse 2021</a>, </em>Toulouse, France<br /><br /><em><strong><a href="https://pierreyvesclouin.fr/items/show/1232">Join The Herd(Rejoindre le troupeau)</a></strong><br />ou le retour de la nouille prodigue<br />ou la métaphore en latence<br />ou l'œil de Pierre Yves Clouin qui réveille le latent sous le trivial, la métaphore sous l'élément le plus petit.<br />arte povera ou art machinique ou le parti pris de la chose.<br />Tout cela en humour sérieux: une nouille en forme de petit nœud ou de papillon est séparée d'autres identiques regroupées sur le support blanc d'un appareil ménager, machine à laver le linge ou la vaisselle qui vibre en marche et fait sautiller les petits aliments. Il faut 1 minute et 17 secondes à l'isolée pour atteindre les autres et selon le titre, en jeu à la manière de Pierre Yves Clouin, pour ainsi "rejoindre le troupeau". Revenir à ses pairs après la tentation d'une vie plus risquée, revenir comme le fils prodigue après avoir tout dépensé ou même avant même d'avoir tenté: la nouille est intacte. La ressemblance annoncée est celle de la brebis ou de tout autre animal de groupe, à la conduite grégaire; elle engage un regard sociologique sur la crainte ou l'impossibilité de rester seul, de vivre autonome, ce qui glisse vers le terrain dépréciatif: choisir d'être plutôt nouille que penseur. Pierre Yves Clouin aurait pu dire être trop bonne pâte mais il a préféré l'aliment à la française avec la nuance moins heureuse. La nouille n'y est pas cuite, sans quoi l'adhérence, la mollesse eussent empêché le petit bruit du sautillement mais s'opère, ainsi, un autre déplacement du sens, vers "l'objeu" mot-valise fait d'objet et de jeu de Francis Ponge. Lui, Ponge retint un autre papillon, le vrai volant, il le vit comme "un minuscule voilier des airs maltraité par le vent en pétale superfétatoire."<br />Pierre Yves Clouin fait avec la forme, ce que le poète fait avec le mot mais pour les deux, l'objet/aliment retenu devient le motif inspiré, le lieu de la métaphore, au delà de regard commun- ce qui nous éloigne du troupeau. Tout objet est motif d'invention.<br />Parce qu'elle est papillon, la nouille nous entraîne ainsi loin des formules d'argot que des films précédents de l'artiste auraient pu déclencher et elle déclenche notre sourire devant la boutade poétique en vidéo.</em>
<p class="western" align="justify"><em>Simone Dompeyre</em></p>
<p class="western" align="justify"><a href="https://pierreyvesclouin.fr/items/show/1234">Traverse Vidéo 2021</a><br /><br /></p>
<p class="p2"><strong><a href="https://pierreyvesclouin.fr/items/show/1232">Join The Herd<span> </span><em>(Rejoindre le troupeau)</em></a></strong></p>
<p class="p2">Or the return of the prodigal noodle<br />Or the latent metaphor<br />Or Pierre Yves Clouin’s eye awakening the latent beneath the trivial, the metaphor beneath the tiniest element.<br /><i>Arte povera,</i><span> </span>or machinic art, or the bias of the thing.<br />All this is serious humor: A single noodle, shaped like a small knot or butterfly,* is isolated from a group of other identical noodles on the white surface of a household appliance—a washing machine or dishwasher—that, as it vibrates, makes these little bits of food hop and skip along. It takes 1 minute and 17 seconds for the loner to reach the others and "join the herd," as the title says in Pierre Yves Clouin’s playful way. Returning to its peers after being tempted by a more dangerous existence, returning like the prodigal son after having squandered his all—or before having even tried—the noodle is intact. Evidently resembling a sheep or some other gregarious animal that lives in a herd, it offers a sociological perspective on the fear—or the impossibility—of remaining alone, of living independently, alternatives that tend to be pushed off to the sidelines and depreciated. To choose to be a noodle rather than a thinker. Pierre Yves Clouin might have used the French expression<span> </span><i>être de trop bonne pâte</i><span> </span>(to be made of too good a dough), which means to have an accommodating and docile character, but he opted for a food with a less happy nuance. [In French,<span> </span><i>nouille</i><span> </span>(noodle) is also used to describe a person who is compliant, stupid or lacks vitality.]<span class="Apple-converted-space"> <span> </span></span>This noodle is uncooked, otherwise its stickiness and softness would have prevented the small tapping sound of its hopping. Thus it effects another displacement of sense toward<span> </span><i>l’objeu</i>, a portmanteau combining the words<span> </span><i>objet</i><span> </span>(object) and<span> </span><i>jeu<span class="Apple-converted-space"> </span></i><span> </span>(play), coined by Francis Ponge, who remarked that other butterfly, the real aviator, which he described as "a minuscule sailing ship of the air that is knocked about by the wind like a superfluous petal."<br />Pierre Yves Clouin does with form what the poet does with words. But in both cases, the object or food chosen becomes the inspired motif, the site of the metaphor, beyond the commonplace gaze—which gets us away from the herd. Any object is ground for invention.<br />Because it is a butterfly, the noodle thus leads us far from the slang expressions that the artist's previous films might have triggered; it triggers, instead, a smile at this poetic sally on video.</p>
<p class="western" align="justify"><em>Simone Dompeyre</em></p>
<p class="western" align="justify"><a href="https://pierreyvesclouin.fr/items/show/1234">Traverse Vidéo 2021</a></p>
<p><em>"Entraîné par des ressemblances qu'il est toujours le premier à découvrir entre des éléments et des objets très éloignés, Pierre Yves Clouin fabrique son troupeau de nouilles posées sur le couvercle d'un appareil électro-ménager."<br /></em>"Guided by resemblances—that he is always the first to discover—between very diverse elements and objects, Pierre Yves Clouin builds his herd of pasta atop a household appliance."<br /><a href="https://pierreyvesclouin.fr/items/show/1234">Traverse Vidéo 2021</a></p>
<em><br /></em>
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
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
Date
A point or period of time associated with an event in the lifecycle of the resource
2020
-
https://pierreyvesclouin.fr/files/original/608d4aac5d6cd8752bf57e58bdd88774.mov
3955b01953b1bba73eac289d46ccea26
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
4k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:03:10
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Solo Show
Description
An account of the resource
<iframe width="640" height="360" title="vimeo-player" src="https://player.vimeo.com/video/359810027?h=b07b873e56" frameborder="0" allowfullscreen="allowfullscreen"></iframe> <br />I just walked in<br /><em>J'ai juste poussé la porte<br /><br /></em><strong><strong>exhibitions and screenings of Solo Show<br />2021<br /></strong></strong><a href="https://pierreyvesclouin.fr/items/show/1259">The One Shot Terrassa City of Film,</a> Barcelona, Spain
Date
A point or period of time associated with an event in the lifecycle of the resource
2019-11-3
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin
Type
The nature or genre of the resource
MovingImage
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Paris
-
https://pierreyvesclouin.fr/files/original/5c11dc278b9eaa711c98329001894c5a.mov
f0f94f8d5594cd46ce2d2af8790b91b0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Films (1995 - )
Description
An account of the resource
Pierre Yves Clouin has been working exclusively in film since 1995
Moving Image
A series of visual representations that, when shown in succession, impart an impression of motion.
Original Format
If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data
4k
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:01:0O
Director
Name (or names) of the person who produced the video.
Pierre Yves Clouin
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
3 Lignes
Description
An account of the resource
<iframe width="640" height="360" src="https://player.vimeo.com/video/312282399?h=2fed3515c7" frameborder="0" allow="autoplay; fullscreen; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
<p><a href="https://vimeo.com/312282399">3 lignes (3 Lines)</a> from <a href="https://vimeo.com/user74742201">Pierre Yves Clouin</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<p><span><em>Et trois hommes sur la même</em> <br />And three men on the same</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2022-07-13
Rights
Information about rights held in and over the resource
PY Clouin
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