1 20 823 https://pierreyvesclouin.fr/files/original/052bc12d6b720c0f18a1504fc0028ee3.pdf 58f49dcc5c47aef2e1f4205bde18fb40 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2001-12-12 Event Type screening Participants Names of individuals or groups participating in the event. Pierre Yves Clouin, Steve Reinke, Nelson Henricks 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 Corps Accords, Play On2, Le cinematographe, Nantes, France Description An account of the resource with <ul> <li><a title="j'ai des bouches partout" href="http://pierreyvesclouin.fr/items/show/88" target="_self">J'ai des bouches partout</a>,</li> <li><a href="https://pierreyvesclouin.fr/items/show/1352">Mon lapin bleu,</a></li> <li><a title="Kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a>,</li> <li><a title="The Little Big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big</a>,</li> <li><a title="Cul en l'air" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a>,</li> <li><a title="Front Room" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a></li> </ul> and works by Steve Reinke and Nelson Henricks Relation A related resource <ul> <li><a title="j'ai des bouches partout" href="http://pierreyvesclouin.fr/items/show/88" target="_self">J'ai des bouches partout</a>,</li> <li><a href="https://pierreyvesclouin.fr/items/show/1352">Mon lapin bleu,</a></li> <li><a title="Kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a>,</li> <li><a title="The Little Big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big</a>,</li> <li><a title="Cul en l'air" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a>,</li> <li><a title="Front Room" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a></li> </ul> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Nantes, FR https://pierreyvesclouin.fr/files/original/7edd2aec247b9af478cfac8598243de7.pdf 3d419e563ec1930b3ebb127a61289f6e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. 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 Marc Siegel, "My Levitating Butt and Other Queer Abstractions" Description An account of the resource <img title="Marc-Siegel" src="https://pierreyvesclouin.fr/files/original/2a6e90397545e10e54b092114b248ccf.jpeg" alt="" width="400px" /> <a href="https://www.academia.edu/45542523/My_Levitating_Butt_and_Other_Queer_Abstractions_2020_">Marc Siegel, "My Levitating Butt</a> <a href="https://www.academia.edu/45542523/My_Levitating_Butt_and_Other_Queer_Abstractions_2020_">and Other Queer Abstractions,"</a> <a href="https://www.academia.edu/45542523/My_Levitating_Butt_and_Other_Queer_Abstractions_2020_">Differenz und Affirmation.</a> <a href="https://www.academia.edu/45542523/My_Levitating_Butt_and_Other_Queer_Abstractions_2020_">queer/feministische Positionen zur</a> <a href="https://www.academia.edu/45542523/My_Levitating_Butt_and_Other_Queer_Abstractions_2020_">Medialität, ed. Julia Bee and</a> <a href="https://www.academia.edu/45542523/My_Levitating_Butt_and_Other_Queer_Abstractions_2020_">Nicole Kandioler. Berlin: b_books,</a> <a href="https://www.academia.edu/45542523/My_Levitating_Butt_and_Other_Queer_Abstractions_2020_">2020. 133-155.</a> The aesthetics of visibility politics, associated with the lesbian and gay liberation movement cinemas of the 1970s and ’80s, still drive most discussions of queer cinema in Germany. Queer has come to function primarily as an identity category and queer films tend to be only those that are either made by or represent queer people. At the time of its initial theorization, however, queer marked a challenge to the fixity of identity and suggested a beyond to existing regimes of representation. How can we incorporate this critical perspective on identity and representation into a concept of queer cinema? What kind of queer cinema pictures not simply queer lives and loves but, more importantly, those realms of abstraction beyond figuration? Relying on examples from the history of avant-garde film and video, this talk argues for the importance of aesthetic and narrative innovation to an understanding of queer cinema. White letters on a black background form the enigmatic erotically tinged title: <a href="https://pierreyvesclouin.fr/items/show/103">CUL EN L'AIR</a>.1 Cut to the first and only shot of this three and a half minute video. We are positioned on the ground looking between the legs of a white man lying on his back wearing little more than sneakers and a white jockstrap. His right foot is briefly on view in the left fore-ground of the image. As it moves out of frame, the body repositions itself slightly so that a part of the man's shaven head is visible in the left background. He is apparently wearing a blue sweatshirt but, clued in by the title and the unusual and unchanging camera position, we know that it is his lower body.specifically his "cul " which will be our main object of attention.The man's hand reaches down the back of his right thigh, tentatively scratches his butt cheek. flicks the elastic strap on the jockstrap and eventually retreats out of frame.The low quality video recording captures the thick location sound of empty room noise. punctuated by occasional sounds of the body’s slight movements (fingernails scratching skin, butt-checks rubbing against the floor). The shot frames the man’s lower body in a close up such that the cup of the jockstrap is in the upper center of the frame with the backs of the right and left upper thighs exiting the frame adjacently. The elastic straps of the jockstrap come down at an angle, separate thigh from ass, and frame thereby the butt crack. Beneath the cup, the visible part of the butt crack forms a dark vertical line down to the white floor at the bottom center of the frame.   Soon, the buttocks rock back and forth, lift up slightly and slowly begin to rise. Quickly, they fall back to the ground. More rocking. The butt seems to lift off, only to fall back once again a bit later. We begin to forget that these buttocks are human body parts and that their rising and falling occurs only through concentrated physical exertion. Framed as they are, they appear as a strange fleshy organism, a moveable, oddly erotic abstract mass.2 The buttocks lift off again. This time they hover a bit longer but, soon, fall back down. Another lift off and they float higher - an old sight, this levitating butt that rises towards the top of the frame. Hovering a few seconds at the upper frame edge, the butt has become merely form, two linked white flesh colored half-circles at the top center of an empty composition. The wall in the background is a blurry yellow field that meets the white of the floor, two thirds of the way down forming a kind of horizon line. A few seconds of an empty expectant frame and then a cut to black. The copyright symbol, an abbreviation of the director’s name, ‘’PY Clouin,’’ and the year, ‘’1997, ‘’ appear in  white letters against a black background.    Whimsical, frivolous, clever, <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> is one of numerous performance videos made by French artist Pierre Yves Clouin over the past twenty years 3. In many of them, the ingenious framing of the artist’s body enables a disarming, intimate performance that transforms body parts into odd forms or uncannily familiar ones. In <a href="https://pierreyvesclouin.fr/items/show/97">COWBOY</a> (1998, France) the artist’s hand reaches back through his legs to grab his scrotum and testicles and pull them forward away from the stare of the camera, which is positioned behind his kneeling body. He then proceeds to manipulate them slowly, allowing the genitals ever occasionally to surface back between his legs as unrecognizable, fleshy pointy forms. In <a href="https://pierreyvesclouin.fr/items/show/88">J’AI DES BOUCHES PARTOUT/I HAVE MOUTHS EVERYWHERE</a> (1999, France), a low angle, close-up shot from the artist’s waist captures the right side of his bare torso, while his body quivers rhythmically as if he were masturbating. A series of abrupt zooms brings us closer to his protruding right breast and erect nipple, with the artist’s ear looming menacingly in the blurry distance. The ear lobe resembles a stiff upper lip and, accentuated by the image going in and out of focus, the back of the ear takes on the appearance of a toothy mouth. A finger emerges to massage lightly and manipulate the earlobe, thus strengthening the impression of an ambivalently erogenous zone. Much like Andy Warhol’s silent 16mm films, such as BLOW JOB or HAIRCUT (both 1963, US), in which the framing forges an erotically-charged on-screen space and teases with the imaginative possibilities of the off-screen, Clouin’s realtime performance videos compel reflections on visibility and fantasy, exhibitionism and voyeurism, duration and concept, and performance and media aesthetics. As Ger Zielinski notes, Clouin uses frame "to create ambivalence and emotional tension’’ that doesn’t always end with narrative resolution" 4        More immediately, perhaps, Clouin’s videos inflect a tradition of artists’ performances for the camera with a self conscious homoeroticism. With its narcissistic display of the artist’s male body, the video immediately calls to mind works by foundational figures in the genre such as Vito Acconci and Bruce Nauman. His reduction of video to a direct audiovisual recording of a temporally and spatially defined action recalls Acconci’s early videos such as CENTERS or CONTACTS (both 1971, US) while the tight framing of the male body finds echo in Acconci’s even earlier silent Super 8mm films such as OPENINGS or OPEN-CLOSE (Bothe 1970, US). Clouin however avoids the psychologizing content of Acconci’s video work. He also never employs language to communicate his fantasies, gesture self-reflexively towards medium specificity or extend poetically the ambivalence created through the framing of the white male body. Closer in sensibility and aesthetics to the varied work of Bruce Nauman, whose series of "Slo-Mo" 16mm films from the late 1960s depict in graphic simplicity his testicles (BLACK BALLS and BOUCING Balls, both 1969, US) or his manipulates mouth, lips and neck (PINCHNECK, 1968, US, and PULLINGMOUTH, 1969, US) Clouin’s videos nevertheless distinguish themselves from the work of both body art pioneers with a more radical challenge to heteronormative visualizations of the male body. In OPEN-CLOSE, for instance, Acconci contrast his "closed" buttcrack, with he plasters shut, with his ‘’open’’ penis, which he masturbates with tomato, and reaffirms thereby a binary structure of gender and sexuality, all the while attempting to ward off the threat of anal penetration. In BOUNCING BALLS, Nauman lyricizes through slow motion the movements of his scrotum and testicles. In contrasts to a display of anxiety over the dissipation of a gender and sexual binary or a romantic infatuation with a "defiant masculinity,"5  Clouin mischievously denies the male sexual organs their symbolic role as emblems of phallic masculinity and rethink their inflexible fleshy presence.     <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> is a perfect example of Clouin’s strategy of taking the gravity out of representations of male body parts that are otherwise so heavily weighed down with symbolic and social meanings. It is also an exemplary work of queer cinema. But what concept of queer cinema incorporates such an absurd, minimalist video depicting solely a man’s butt as it rises from the floor and floats out of frame? We are provided with an explicit representation of neither lesbians nor gays, neither queers nor bisexuals, neither transgendered nor intersex people. We don’t even get to see the face of the man whose butt is so blatantly put on display, let alone receive sufficient information to attribute an identity position to him.6  A recent introductory book suggests that queer cinema tell stories about typical experiences in the lives of gays and lebians, and thereby ‘’represent(s) defamed desires and allow(s) audiences an affective engagement with them. 7   By researching and writing about queer cinema, we generate "an archaeology of an alternative cinematic aesthetics organized around non-normative desires."8  Although it might seem ludicrous to argue that Clouin’s video represents defamed and non-normative desires, that is exactly what I will do. Moreover, by taking <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> as exemplary of queer cinema and not, for instance, BROKEBACK MOUNTAIN ( And Lee, 2005, US/Canada) or CAROL (Tod Haynes, 2015, US/UK) - two important films that offer conventional narratives about the repression and/or realization of homosexual desire and/or realization of homosexual desire and the possibilities of gay and lesbian coupledom - I argue for concept of queer cinema in which the representation of non-normative or defamed desire is dependent on radical aesthetic and narrative esperimentation. 9 As a means of providing a historical and theoretical context for this concept of queer cinema. I’d like to reflect further on the powerful intervention represented by Clouin’s modest little video.     I first saw <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> on a program of experimental video at the San Francisco Lesbian, Gay, Bisexual, Transgender and Queer Film Festival in 1999. The screening context already provided an interpretation of the work and facilitated the association of Clouin’s video with other contributions to queer cinema and theory. Think, for instance, of Warhol’s 1964 16mm silent film TAYLOR MEAD’S ASS, an approximately eighty-minute static close-up of the titular body part of the underground performer as he humorously plays at pushing and pulling various objects in and out of his buttocks, including a New York Film Festival catalogue, a book by Henri Bergson (The Two Sources of Morality and Religion) and a paucity photograph of Elisabeth Taylor. Warhol’s film was made in reaction to another filmmaker’s complaint about the earlier Warhol-Mead film TARZAN AND JANE REGAINED, SORT OF… (1963, US) that features Mead as a scrawny Tarzan ambling through the jungle of the city of Los Angeles often wearing little but a leopard pattern loincloth that constantly falls off. In alerter to the editor of The Village Voice, filmmaker Peter Emanuel Goldman criticized Warhol and his enthusiastic supporter, critic and filmmaker Jonas Mekas, for films "focusing on Taylor Mead’s ass for two hours."10 Meads responded with his own letter:"Andy Warhol and I have searched the archives of the Warhol closes and find no ‘two hour film of Taylor Mead’s ass.’ We are rectiying this underweight with the unlimited resources at our command. Love and kisses."11  In response to having their earlier film reduced to something as seemingly unserious as two hour depiction of a performer’s ass, Mead and Warhol unexpectedly embraced this minimalist approach to a defamed project. Through ingenious lighting and careful framing, Warhol created a genuinely beautiful portrait film that is also an aesthetically delimited space for Mead’s luminescent white ass is centered in the frame, with the top edges cutting off at the waist and the bottom halting mid-thigh. Not surprisingly, this long stare at Mead’s buttocks begins to lend them a sense of abstraction. As Wayne Koestenbaum notes, "high contrast lighting conscripts the ass into being a figure for whiteness itself, particularly when the ass merges with the blank leader at each reel’s end. The buttocks, seen in isolation, seem explicitly double: two checks, divided in the center, by a dark line. "12        Koestenbaum links Warhol’s abstraction of Mead’s ass to the double structure of his painting, but why interests me is less the doubling of serial repetition than the doubling of ass and abstract form. Like Warhol before him, Clouin denies us the comfort of distinguishing ass from aesthetics. We witness, if you will, the production of form out of the buttocks. (When ass become form, to paraphrase the subtitle of a highly influential art exhibition.13) There is, perhaps, something riculous about belaboring the artistic significance of the male buttocks. Their formal properties have long fascinated painters and sculptors.14  In the context of male homosexuality, however, one cannot emphasize enough the social, symbolic, and psychological weight placed on the buttocks. Here we come to understand the true ingenuity of <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a>.    Through the lens of homophobia, gay me are defined by a single act, receptive anal sex, an act that - as a discriminatory and sexist logic would have it - also calls into question their masculinity. For french theorist Guy Hocquenghem, this prejudicial view forms the starting point for a gay resistance to phallocratic capitalism. Inspired by Gilles Deleuze and Félix Guattari’s Anti-Œdipus, Hocquenghem argues for the social and political value of failing to sublimate anal eroticism:     To fall one’s sublimation is merely to conceive social relations in a different way. Possibly when the anus recovers its desiring function, and plugging in of organs takes place subject to no rule or law, the group can then take its pleasure in an immediate relation, where the sacrosanct difference between public and private, between the individual and the social will be out of place.15  And eroticism - indeed, anal sex - is for Hocquenghem the path towards a new kind of social bond that, by overthrowing sublimation, resits the privatizing and individualizing impulses of phallic sexuality. Hocquengem’s book Homosexual desire, initially published in France in 1972, might be taken as the first example of queer theory.16  although this anti-œdipal ‘’sexual communism’’ has unfortunately be referenced all too infrequently in later queer studies. Hocquenghem’s emphasis on the anus as the site of social, political and psychological transformation nevertheless found its parallels in key works of the burgeoning field, Eve Kosovfsky Sedgwick, for instance, theorized a solidarity among women and gay men through a shared interest in the pleasures of anal eroticism. As a non-gendered sexual characteristic, the ass - with its constituent parts including buttocks, anus, and bowels - is obviously common to both men and women, even if the meaning attributed to it is distributed unevenly. Whereas male anal eroticism has historically been overburdened with meaning. Sedgwick argues that "there has been no important and sustained discourse in which women’s anal eroticism means. Means anything."17 Drawing attention to female anal eroticism at the height of the AIDS epidemic, when anal sex was viewed as a death sentence for gay men, Sedgwick launched a significant challenge both to the sublimation of the anus, and to its broader social and political stigmatization.      Certainly the most influential work of queer theory to address the symbolic and ideological associations between gay male anal sex and death. Leo Bersani’s 1987 essay "Is the Rectum a Grave?" Makes the provocative argument that gay men should not challenge a homophobic and sexist logic with a redemptive view of sexuality (think, perhaps, of Hocquenghem’s promiscuity as a form of sexual communism).18  What if we said, for example, not that it is wrong to think of so-called passive sex as ‘demeaning,’  but rather that the value of sexuality itself is to demean the seriousness of efforts to redeem it.’"  Bersani argues that a homophobic and sexist logic identifying reptile anal sex with passivity and effeminacy may indeed be killed off in the rectum. Acknowledging the tragic fact that this logic was liberalized in the AIDS epidemic, Bersani nevertheless argues:    If the rectum is the grave in which the masculine ideal (an ideal shared-differently- by men and women) of proud subjectivity is buried, then it should be celebrated for its very potential for death (….) it may finally be in the gay man’s rectum that he demolishes his own perhaps otherwise uncontrollable identification with a murderous judgment against him. 19        Bersani’s radical view of ‘’self-shattering’’ jouissance of nail sex casts the anus as a playing field of the therapeutic expulsion of ideals of and identications with phallic masculinity.       Although the value of sexuality - pace Bersani - is "to demean the seriousness of efforts to redeem it," gay male anal sex in the homophobic and sexist context of the AIDS epidemic of the 1980s and ’90 and in the counterdiscourse of queen studies appears to have been a particularly serious business. The ass, whether as nexus in a network of egalitarian sexual and social contacts, as potentially non-gendered access point to solidarity between the sexes, or as cemetary  for  ideals of self and other, carried the weight of social, psychic and political meaning. 20  Levity, simplicity, and facetiousness did not seem to have been foremost on the mind of one contemplating the male ass in heady ‘90s queer culture. That’s why MY LEVITATING BUTT flies in the face of efforts to burden the buttocks with meaning. 21  That also why I situate Clouin’s work in a long tradition of queer cinema that joyously disregards the function of the genitals in normative regimes of sexuality and counters the seriousness of attempts to circumscribe their meanings. This tradition includes Jack Smith’s FLAMING CREATURES (1962-63, US) with its limp penises and jiggling female breasts; Barbara Hammer’s DYKETACTICS 1974, US) and MULTIPLE ORGASM ( 1977, US), with their unfettered depictions of women’s vulvas and masturbation; and Angelika Levi super 8mm film SEX PARTY (1987, Germany) which figure the female backside as an ideal site for sniffing cocaine. In ZERO PATIENCE (1993, Canada), John Greyson even staged the complex theoretical arguments in Bersani’s easy as a musical number performed by two main character’s buttocks - a so - called butthole duet - in his hilarious film musical challenging homophobic origin stories of HIV.      As these diverse narrative and non-narrative examples attest, I don’t want to claim that all instances of queer cinema are as stringent in their aesthetic as MY LEVITATING BUTT and TAYLOR MEAD’ASS, nor do they all focus solely on the white male ass and it various pleasures and possibilities. 22  I do, however, want to argue for a notion of queer cinema that retains a playfully defiant embrace of unserious, an enigmatic depiction of body parts and sexual desire and an innovative approach to framing those aspects of our bodies and lives that often evade not only meaning, but representation itself. This queer cinema of abstraction is not motivated by the serious goal of providing visual and aural evidence of already existing lives and loves. It serves rather to disturb conventional representational regimes so as to awaken desires for new configurations of gender, sexuality and subjectivity. 1 The English title of the French video is MY LEVITATING BUTT. These words, however, never appear on screen. See <a href="https://pierreyvesclouin.fr/items/show/103">https://pierreyvesclouin.fr/items/show/103</a> (October3, 2018) 2 At some point during their flight the buttocks come to resemble as well the enormous head of a penis, something quite obvious to Clouin who provide a punning single sentence description of the video: "En s’envolant, mon cul fait le gland / My levitating Butt is a bit of a prick.’" See <a href="https://pierreyvesclouin.fr/items/show/103">https://pierreyvesclouin.fr/items/show/103</a> (October3, 2018) 3 There is surprisingly little scholarly work on Clouin’s inspiring singular body of work. For fruitful discussion, see Her Zielinski:"Short, Quiet and Disturbing: On recent Video Work by Pierre Yves Clouin," in Trade ( Spring 2001), pp19-21, available as of July 25 at Clouin’s highly useful website <a href="https://pierreyvesclouin.fr/items/show/121">https://pierreyvesclouin.fr/items/show/121</a> 4 Ziezlinski: ‘’ Short, Quiet and Disturbing’’ p20. 5 this is how Andrew Salgado describes Nauman’s work in his essay « Sexalized: The  queer Masculine body considered in Nauman and Barney » in: James Elkins and Kristi McGuire, et al(ed): Theorizing Visual Studies: Writing Through the Discipline. New York: Rutledge 2013, pp, 246-249, p246. There is some debate about the feminist and queer potentiality of Acconci’s early performance films, which seems to hinge on whether or no interprets his display of the white male body as a deconstruction of idealized gender roles. For a useful intervention, see Jane Blocker: What the Body Cost: Desire, History and Performance. Minneapolis: University of Minnesota Press 2004, pp 8-14 6 as I mention above, we do see a part of his head and upper face brefly and could perhaps use these limited visual clues to attribute a sexual identity to the performer. This however, seems a bit of a stretch and also somewhat beside the point of the video. 7 Barbara Mennel: Queer Cinema: schoolgirls, Vampires and Gay Cowboys. London Wallflower Press 2012, p 2. 8 Mennel: Queer Cinema p 1. 9 CAROL and BROKEBACK MOUTAIN were recently among the top five on the British film Institute’s list for the best Lesbian, Gay, Bisexual and Transgender films of all time, See <a href="http://www.the">http://www.the</a> <a href="http://guardian.com/film/2016/mar/15/carol-named-best-lgbt-film-of-all-time">guardian.com/film/2016/mar/15/carol-named-best-lgbt-film-of-all-time</a> (January 22, 2019). 10 Peter Emanuel Goldman: " Letter to the editor, "  in: The Village Voice, Aug. 27, 1964, p 5. 11 Taylor Mead: " Letter to the editor, " in: The Village Voice, Sept.3, 1964, p 4. 12 Wayne Koestenbaum: Andy Warhol: A Biography. New York:; Viking 200; p60. 13 « Live in your Head: When Attitudes Become Form, » is the title of Harald Szeeman’s legendary 1969 exhibition at Kunsthalle Bern. 14 See, for instance, Jonathan Allan: Reading from Behind: A Cultural Analysis of the Anus. Cambridge, MA: Zone Books 2016 15 Guy Hocquenghem: Homosexual Desire, translates from French by Daniella Danger, Durham, NC:Duke University Press 1993, p111. 16 This is Douglas Crimp’s claim in the blurb on the back of the 1993 Duke University Press edition 17 Eve Kosovsky Sedgwick: " a Poem Is Being Written, " in:id: Tendencies, Durham, NC: Duke University Press 1993, p204, italics in original Sedgwick’s writing about the anus and anal eroticism courses through her texts, particularly her writing on Henry James and Charles Dickens. For one significant reflection, see "Is the Rectum straight? Identification and Identity in Wings of the Dove."In:id: Tendencies, pp 73-74. For a useful, brief summary of her thinking on anality, see Jason Edwards: Eve Kosovsky Sedgwick. New York: Routledge 2009, pp74-76. It seems, however, that Sedgwick’s claims about the lack of meaning ascribed to women’s anal eroticism refer solely to the buttocks of white women. There is, for instance, a sustained racist discourse about the erotics of black women’s buttocks which goes back to the Hottentot Venus. See Janell Hobson: Venus in the dark: Blackness and Beauty in Popular Culture, 2nd ed, London: Rutledge 2018. For an analysis of a discourse on Latina women’s buttocks see Frances Negron-Muntaner: "Jennifer’s Butt, " in:id Borietta Pop, Puerto Ricans and Latinization of American Culture. New York: New York University Press 2004. Pp. 228-246. 18 Leo Bersani: « Is the Rectum the Grave?, » in AIDS: Cultural Analysis , Cultural Activism, (Special Issue, ed Douglas Crimp) October 43(1987),pp 197-222 19 Bersani: "Rectum, " p.222. 20 I single out Hocquenghem, Sedgwick and Bersani for their exemplary positions within debates in queer studies. A broader discussion of the role of the ass in ‘90s queer theory would certainly need to take into account such work as D.A. Miller’s analysis of Alfred Hitchcock’s so-called invisible cuts into his figures ‘backsides in "Anal Rope" in: Diana Fuss(ed):Inside/Out:Lesbian Theories, Gay Theories, New York, Routledge 1991. pp118-141; Lee Edelman’s theorization of « behinsight » in « Seeing things: Representation, the Scene of Surveillance, and the Spectacle of Gay Male Sex ,» in:id.Homographesis. New York:Routledge 1994, p.173-191; Negron-Muntaner’s writing on Jennifer Lopez bottom in "Jennifer Butt ," and Nguyen Tan Hoang’s rethinking of racial and ethnic sexual positions in A View from the Bottom: Asian American Masculinity and Sexual Representation, Durham, NC:Duke University Press 2014. 21 Although I am highlighting Clouin’s video here, there are certainly other examples from the 1990s of such a playful, almost parodic queer counter discourse on the serious subject of the male buttocks. See, for instance, Danny Fast and Joe Kelly’s hilarious, absurd video SKULLFUCK (1991, US), in which one man seemingly penetrates another’s ass his lubed, shaven head. After pulling out, he is covered in a dirty slime, which he subsequently licks from his face. 22 think, for instance, of Nguyen Tan Hoang’s fantastic ode to Asian American bottom hood in the video FOREVER BOTTOM (1999 US) or Isabel Spengler and Larry Peacock’s ingenious aesthetics of the white female ass in the short film SYNCH POINT (2007, Germany). <a href="https://film-medien.ftmk.uni-mainz.de/univ-prof-dr-marc-siegel/">Marc Siegel</a> is Professor of Film Studies at the Johannes Gutenberg University in Mainz since October 2020. His research focuses mainly on issues in queer studies and experimental film. His book A Gossip of Images is forthcoming from Duke University Press. Publications include the co-edited volumes, Serge Daney and Queer Cinephilia (meson press, 2022), Film Culture 80: The Legend of Barbara Rubin (Spector Books, 2018), Synchronisierung der Künste (Fink, 2013), Outside. Die Politik queerer Räume (b_books, 2005) and a 2014 special issue of the journal Criticism on underground artist Jack Smith. He has also been active as a freelance curator. He curated numerous film series and programs for film and performance festivals, as well as museums und galleries, including the Berlin Biennial; the Berlinale; Tate Modern (London); CCCB (Barcelona), Bunkier Sztuki (Cracow) and the Goethe Institute (Kolkata). He also co-curated the festivals "EDIT FILM CULTURE!" (Berlin, 2018); "Camp/Anti-Camp: A Queer Guide to Everyday Life" (Berlin, Frankfurt, 2012); and "LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World " (Berlin, 2009). He is a member of the Akademie der Künste der Welt in Köln, on the advisory board of the Forum Expanded section of the Berlinale and one of the co-founders of the Berlin-based artists' collective CHEAP. He is also the artistic director of ZOOM – Ludwig Schönherr Lab. <hr /> L'esthétique de la politique de visibilité, associée aux cinémas des mouvements de libération lesbienne et gay des années 1970 et 1980, anime toujours la plupart des discussions sur le cinéma queer en Allemagne. Queer en est venu à fonctionner principalement comme une catégorie d'identité et les films queer ont tendance à être uniquement ceux qui sont réalisés par ou représentent des personnes queer. Au moment de sa théorisation initiale, cependant, le queer a marqué un défi à la fixité de l'identité et a suggéré un au-delà des régimes de représentation existants. Comment intégrer cette perspective critique sur l'identité et la représentation dans un concept de cinéma queer ? Quel genre de cinéma queer dépeint non seulement des vies et des amours queer mais, plus important encore, ces domaines d'abstraction au-delà de la figuration ? S'appuyant sur des exemples tirés de l'histoire du cinéma et de la vidéo d'avant-garde, cette conférence plaide en faveur de l'importance de l'innovation esthétique et narrative pour comprendre le cinéma queer. Des lettres blanches sur fond noir forment le titre énigmatique, teinté d'érotisme : <a href="https://pierreyvesclouin.fr/items/show/103">CUL EN L'AIR</a>.1  Cut sur le premier et unique plan de cette vidéo de trois minutes et demie. Nous sommes positionnés sur le sol regardant entre les jambes d'un homme blanc allongé sur le dos portant à peine plus que des baskets et un jockstrap blanc. Son pied droit est brièvement visible au premier plan gauche de l'image. En sortant du cadre, le corps se repositionne légèrement de sorte qu'une partie de la tête rasée de l'homme soit visible dans l'arrière-plan gauche. Il porte apparemment un sweat-shirt bleu mais, orientés par le titre et la position inhabituelle et immuable de la caméra, nous savons que c'est le bas de son corps. Plus précisément son  « cul » qui sera notre principal objet d'attention. l'arrière de sa cuisse droite, se gratte timidement la fesse. fait glisser la sangle élastique sur le jockstrap et finit par se retirer hors du cadre. L'enregistrement vidéo de faible qualité capture le son épais de l'emplacement du bruit de la pièce vide. ponctué par des sons occasionnels de légers mouvements du corps (ongles grattant la peau, fesses frottant contre le sol). La prise de vue encadre le bas du corps de l'homme en gros plan de sorte que la coupe du jockstrap se trouve en haut au centre du cadre avec le dos des cuisses supérieures droite et gauche sortant du cadre de manière adjacente. Les sangles élastiques du jockstrap descendent en biais, séparent la cuisse du cul et encadrent ainsi la fente des fesses. Sous la cavité, la partie visible de la raie bout à bout forme une ligne verticale sombre jusqu'au sol blanc en bas au centre du cadre.   Bientôt, les fesses se balancent d'avant en arrière, se soulèvent légèrement et commencent lentement à monter. Rapidement, ils retombent au sol. Plus vigoureuse. Le cul semble décoller, pour retomber un peu plus tard. Nous commençons à oublier que ces fesses sont des parties du corps humain et que leur montée et leur descente ne se produisent que par un effort physique concentré. Encadrés comme ils sont, ils apparaissent comme un étrange organisme charnu, une masse abstraite mobile, étrangement érotique 2 . Les fesses se soulèvent à nouveau. Cette fois, elles planent un peu plus longtemps mais, bientôt, elles retombent. Un autre décollage et elles flottent plus haut - un spectacle étrange, ce  cul en lévitation qui s'élève vers le haut du cadre. Planant quelques secondes sur le bord supérieur du cadre, le cul n'est plus qu'une forme, deux demi-cercles blancs couleur chair reliés en haut au centre d'une composition vide. Le mur à l'arrière-plan est un champ jaune flou qui rencontre le blanc du sol, les deux tiers de la descente formant une sorte de ligne d'horizon. Quelques secondes d'un cadre d'attente vide, puis une coupe au noir. Le symbole du droit d'auteur, une abréviation du nom du réalisateur, « PY Clouin », et l'année, « 1997 », apparaissent en lettres blanches sur un fond noir.    Fantaisiste, frivole, intelligent, <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> est l'une des nombreuses vidéos performances réalisées par l'artiste français Pierre Yves Clouin au cours des vingt dernières années.3 Dans beaucoup d'entre elles, le cadrage ingénieux du corps de l'artiste permet une performance désarmante et intime qui transforme des parties du corps en formes énigmatiques ou étrangement familières. Dans <a href="https://pierreyvesclouin.fr/items/show/97">COWBOY</a> (1998, France), la main de l'artiste passe par ses jambes pour saisir son scrotum et ses testicules et les tirer vers l'avant loin du regard de la caméra, qui est positionnée derrière son corps agenouillé. Il procède ensuite à les manipuler lentement, permettant aux organes génitaux de revenir occasionnellement entre ses jambes sous la forme de formes pointues et charnues méconnaissables. Dans <a href="https://pierreyvesclouin.fr/items/show/88">J’AI DES BOUCHES PARTOUT/I HAVE MOUTHS EVERYWHERE</a> (1999, France), un plan rapproché et en contre-plongée de la taille de l’artiste capture le côté droit de son torse nu, tandis que son corps tremble en rythme comme s’il se masturbait. Une série de zooms brusques nous rapproche de son sein droit saillant et de son mamelon en érection, avec l'oreille de l'artiste qui se profile de manière menaçante dans le lointain flou. Le lobe de l'oreille ressemble à une lèvre supérieure raide et, accentué par l'image qui entre et se floute, l'arrière de l'oreille prend l'apparence d'une bouche pleine de dents. Un doigt émerge pour masser légèrement et manipuler le lobe de l'oreille, renforçant ainsi l'impression d'une zone érogène ambivalente. Tout comme les films muets 16 mm d'Andy Warhol, tels que BLOW JOB ou HAIRCUT (tous deux de 1963, États-Unis), dans lesquels le cadrage forge un espace à l'écran chargé d'érotisme et taquine avec les possibilités imaginatives du hors-écran, les vidéos de performance en temps réel de Clouin obligent à réfléchir sur la visibilité et la fantaisie, l'exhibitionnisme et le voyeurisme, la durée et le concept, la performance et l'esthétique des médias. Comme le note Ger Zielinski, Clouin utilise le cadre « pour créer une ambivalence et une tension émotionnelle "qui ne se terminent pas toujours par une résolution narrative "4  Plus immédiatement, peut-être, les vidéos de Clouin infléchissent une tradition de performances d'artistes devant la caméra avec un homoérotisme conscient. Avec sa mise en scène narcissique du corps masculin de l'artiste, la vidéo évoque immédiatement les œuvres de figures fondatrices du genre telles que Vito Acconci et Bruce Nauman. Sa réduction de la vidéo à un enregistrement audiovisuel direct d'une action temporellement et spatialement définie rappelle les premières vidéos d'Acconci telles que CENTERS ou CONTACTS (toutes deux de 1971, USA) tandis que le cadrage serré des nageoires du corps masculin fait écho dans les films muets encore plus anciens d'Acconci tels que comme OPENINGS ou OPEN-CLOSE (Bothe 1970, USA). Clouin évite cependant le contenu psychologisant du travail vidéo d'Acconci. Il n'emploie jamais non plus le langage pour communiquer ses fantasmes, gesticuler de manière auto-réflexive vers la spécificité et l'esthétique ou prolonger poétiquement l'ambivalence créée par le cadrage du corps masculin blanc. Plus proche en sensibilité et en esthétique du travail varié de Bruce Nauman, dont la série de films 16 mm « Slo-Mo » de la fin des années 1960 dépeignent avec une simplicité graphique ses testicules (BLACK BALLS et BOUCING BALLS, tous deux de 1969, USA) ou ses manipulations de la bouche, des lèvres et du cou (PINCHNECK, 1968, USA, et PULLINGMOUTH, 1969, US) Les vidéos de Clouin se distinguent néanmoins du travail des deux pionniers du body art avec un défi plus radical à visualisations hétéronormatives du corps masculin. Dans OPEN-CLOSE, par exemple, Acconci oppose son fessier "fermé", qu'il plâtre, à son pénis "ouvert", qu'il masturbe à la tomate, et réaffirme ainsi une structure binaire du genre et de la sexualité, tout en essayant de conjurer la menace de pénétration anale. Dans BOUNCING BALLS, Nauman lit au ralenti les mouvements de son scrotum et de ses testicules. À l'opposé d'un étalage d'anxiété face à la dissipation d'un binaire genré et sexuel ou d'un engouement amoureux pour une "masculinité provocante" ou prolonger poétiquement l'ambivalence créée par le cadrage du corps masculin blanc. Plus proche en sensibilité et en esthétique du travail varié de Bruce Nauman,5 Clouin nie malicieusement aux organes sexuels masculins leur rôle symbolique d'emblèmes de la masculinité phallique et repense leur inflexible présence charnue.   <a href="https://pierreyvesclouin.fr/items/show/103">  </a><a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> est un parfait exemple de la stratégie de Clouin qui consiste à éliminer la gravité des représentations des parties du corps masculin qui sont autrement si lourdement chargées de significations symboliques et sociales. C'est aussi une œuvre exemplaire du cinéma queer. Mais quel concept de cinéma queer incorpore une vidéo aussi absurde et minimaliste représentant uniquement les fesses d'un homme alors qu'elles se soulèvent du sol et flottent hors du cadre ? On nous donne une représentation explicite ni des lesbiennes ni des gays, ni queers ou bisexuels, ou transgenres ou intersexués. Nous n'avons même pas l'occasion de voir le visage de l'homme dont les fesses sont si ouvertement exposées, et encore moins de recevoir suffisamment d'informations pour lui attribuer une position identitaire 6. Un livre d'introduction récent suggère que le cinéma queer raconte des histoires sur des expériences typiques de la vie des gays et des lesbiennes, et ainsi « représente(nt) des désirs diffamés et permet au(x) public(s) de s'engager affectivement avec eux.7  En recherchant et en écrivant sur le cinéma queer, nous générons "une archéologie d'une esthétique cinématographique alternative organisée autour de désirs non normatifs" 8. exactement ce que je vais faire. De plus, en prenant <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> comme exemplaire du cinéma queer et non, par exemple, BROKEBACK MOUNTAIN (And Lee, 2005, US/Canada) ou CAROL (Tod Haynes, 2015, US/UK) - deux films importants qui proposent des récits conventionnels sur la répression et/ou la réalisation du désir homosexuel et/ou la réalisation du désir homosexuel et les possibilités du couple gay et lesbien - je défends le concept de cinéma queer dans lequel la représentation du désir non normatif ou diffamé dépend d'une esthétique radicale et expérimentation narrative. 9 Comme moyen de s'enorgueillir d'un contexte historique et théorique pour ce concept de cinéma queer, j’aimerais réfléchir davantage à l'intervention puissante que représente la modeste petite vidéo de Clouin. J'ai vu pour la première fois <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> dans un programme de vidéo expérimentale au San Francisco Lesbian, Gay, Bisexual, Transgender and Queer Film Festival en 1999. Le contexte de projection offrait déjà une interprétation de l'œuvre et facilitait l'association de la vidéo de Clouin avec d'autres contributions. au cinéma et à la théorie queer. Pensez, par exemple, au film muet 16 mm TAYLOR MEAD'S ASS de Warhol en 1964, un gros plan statique d'environ quatre-vingts minutes de la partie du corps titulaire de l'artiste underground alors qu'il joue avec humour à pousser et à tirer divers objets dans et hors de ses fesses, dont un catalogue du Festival du film de New York, un livre d'Henri Bergson (Les deux sources de la morale et de la religion) et une rare photographie d'Elisabeth Taylor. Le film de Warhol a été réalisé en réaction à la plainte d'un autre cinéaste concernant le film précédent de Warhol-Mead TARZAN ET JANE REGAINED, SORT OF… (1963, États-Unis) qui présente Mead comme un maigre Tarzan se promenant dans la jungle de la ville de Los Angeles portant souvent un petit pagne à motif léopard qui tombe sans cesse.Dans une lettre au rédacteur en chef de The Village Voice, le cinéaste Peter Emanuel Goldman a critiqué Warhol et son partisan enthousiaste, le critique et cinéaste Jonas Mekas, pour des films "se concentrant sur le cul de Taylor Mead pendant deux heures "10. Meads a répondu avec sa propre lettre : " Andy Warhol et moi avons fouillé les archives des archives de Warhol et n'avons trouvé aucun « film de deux heures sur le cul de Taylor Mead ». Nous corrigeons cette insuffisance pondérale avec les ressources illimitées à notre disposition. De l'amour et des bisous"11. En réponse à la réduction de leur film précédent à quelque chose d'aussi peu sérieux qu'une représentation de deux heures du cul d'un artiste, Mead et Warhol ont adopté de manière inattendue cette approche minimaliste d'un projet diffamé. Grâce à un éclairage ingénieux et à un cadrage soigné, Warhol a créé un film de portrait véritablement magnifique qui est également un espace esthétiquement délimité pour le cul blanc luminescent de Mead qui est centré dans le cadre, avec les bords supérieurs coupés à la taille et le bas s'arrêtant à mi-cuisse. Sans surprise, ce long regard sur les fesses de Mead commence à leur donner un sentiment d'abstraction. Comme le note Wayne Koestenbaum, "l'éclairage à contraste élevé fait du cul une figure de la blancheur elle-même, en particulier lorsque le cul se confond avec le l’amorce à la fin de chaque bobine. Les fesses, vues isolément, semblent explicitement doubles : deux carreaux, séparés au centre, par une ligne sombre."12       Koestenbaum relie l'abstraction warholienne du cul de Mead à la double structure de sa peinture, mais ce qui m'intéresse, c'est moins le dédoublement de la répétition sérielle que le dédoublement du cul et de la forme abstraite. Comme Warhol avant lui, Clouin nous refuse le confort de distinguer le cul de l'esthétique. On assiste, si vous voulez, à la production de forme hors des fesses. (Quand le cul devient forme, pour paraphraser le sous-titre d'une exposition d'art très influente.13) Il y a peut-être quelque chose de ridicule à insister sur la signification artistique des fesses masculines. Leurs propriétés formelles ont longtemps fasciné peintres et sculpteurs 14. Dans le contexte de l'homosexualité masculine, on ne saurait cependant assez insister sur le poids social, symbolique et psychologique des fesses. Ici, nous arrivons à comprendre la véritable ingéniosité de <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a>.    A travers le prisme de l'homophobie, les moi gay se définissent par un acte unique, le sexe anal réceptif, un acte qui - selon une logique discriminatoire et sexiste - remet également en cause leur masculinité. Pour le théoricien français Guy Hocquenghem, cette vision préjudiciable constitue le point de départ d'une résistance gay au capitalisme phallocratique. Inspiré de l'Anti-Œdipe de Gilles Deleuze et Félix Guattari, Hocquenghem défend la valeur sociale et politique de ne pas sublimer l'érotisme anal :    Tomber dans sa sublimation, c'est simplement concevoir autrement les rapports sociaux. Peut-être que lorsque l'anus retrouve sa fonction désirante, et que le branchement d'organes n'est soumis à aucune règle ni loi, le groupe peut alors prendre plaisir à une relation immédiate, où la sacro-sainte différence entre public et privé, entre l'individuel et le social sera hors de propos.15 Et l'érotisme - en effet, le sexe anal - est pour Hocquenghem la voie vers un nouveau type de lien social qui, en renversant la sublimation, résiste aux pulsions privatisantes et individualisantes de la sexualité phallique. Le livre de Hocquengem « Désir homosexuel », initialement publié en France en 1972, pourrait être considéré comme le premier exemple de théorie queer 16. Bien que ce « communisme sexuel » anti-œdipien n’ait malheureusement été que trop rarement mentionné dans les études queer ultérieures. L'accent mis par Hocquenghem sur l'anus en tant que site de transformation sociale, politique et psychologique a néanmoins trouvé ses parallèles dans des œuvres clés du domaine en plein essor, Eve Kosovfsky Sedgwick, par exemple, a théorisé une solidarité entre les femmes et les homosexuels à travers un intérêt partagé pour les plaisirs de l’érotisme anal. En tant que caractéristique sexuelle non genrée, le cul - avec ses parties constituantes dont les fesses, l'anus et les entrailles - est évidemment commun aux hommes et aux femmes, même si la signification qui lui est attribuée est inégalement répartie. Alors que l'érotisme anal masculin a toujours été surchargé de sens. Sedgwick soutient qu'"il n'y a pas eu de discours important et soutenu dans lequel l'érotisme anal des femmes signifie. Signifie quoi que ce soiti.''17 Attirant l'attention sur l'érotisme anal féminin au plus fort de l'épidémie de sida, alors que le sexe anal était considéré comme une condamnation à mort pour les homosexuels, Sedgwick a lancé un défi important à la fois à la sublimation de l'anus et à son sens plus large. stigmatisation sociale et politique.      Certainement le travail le plus influent de la théorie queer pour aborder les associations symboliques et idéologiques entre le sexe anal masculin gay et la mort. L'essai de 1987 de Leo Bersani ‘'Le rectum est il une tombe? '' Présente l'argument provocateur selon lequel les hommes homosexuels ne devraient pas contester une logique homophobe et sexiste avec une vision rédemptrice de la sexualité (pensez, peut-être, à la promiscuité de Hocquenghem comme une forme de communisme sexuel) .18  Et si nous disions, par exemple, non pas qu'il est faux de penser que le soi-disant sexe passif est « avilissant », mais plutôt que la valeur de la sexualité elle-même est de diminuer le sérieux des efforts pour la racheter. Bersani soutient qu'une logique homophobe et sexiste identifiant le sexe anal reptilien avec la passivité et l’efféminement peut en effet être tuée dans le rectum. Reconnaissant le fait tragique que cette logique s'est libéralisée dans l'épidémie de sida, Bersani argumente néanmoins :    Si le rectum est la tombe dans laquelle est enfoui l'idéal masculin (un idéal partagé-différemment-par les hommes et les femmes) de la subjectivité orgueilleuse, alors il devrait être célébré pour son potentiel même de mort (….)c’est peut-être enfin dans le rectum d'un homosexuel qu'il démolit sa propre incontrollable  identification et le jugement meurtrier contre lui. 19       La vision radicale de Bersani de la jouissance anale fait de l'anus le terrain de jeu de l'expulsion thérapeutique des idéaux et des identifications à la masculinité phallique.       Bien que la valeur de la sexualité - rythme Bersani - soit ''d'avilir le sérieux des efforts pour la racheter'', le sexe anal masculin gay dans le contexte homophobe et sexiste de l'épidémie de sida des années 1980 et '90 et dans le contre-discours des queer studies semble avoir été une affaire particulièrement sérieuse. Le cul, qu'il soit comme lien dans un réseau de contacts sexuels et sociaux égalitaires, comme point d'accès potentiellement non genré à la solidarité entre les sexes, ou comme cimetière des idéaux de soi et de l'autre, porte le poids du sens social, psychique et politique. 20  La légèreté, la simplicité et la facétie ne semblaient pas avoir été au premier plan dans l'esprit de celui qui contemplait le cul masculin dans la culture queer énivrante des années 90. C'est pourquoi MY LEVITATING BUTT va à l'encontre des efforts visant à alourdir les fesses de sens. 21 C’est aussi pourquoi je situe l’œuvre de Clouin dans une longue tradition du cinéma queer qui néglige allègrement la fonction des génitaux dans les régimes normatifs de la sexualité et contrecarre le sérieux des tentatives de circonscrire leurs significations. Cette tradition comprend les FLAMING CREATURES de Jack Smith (1962-63, États-Unis) avec ses pénis mous et ses seins féminins agités ; DYKETACTICS 1974, États-Unis) et MULTIPLE ORGASM (1977, États-Unis) de Barbara Hammer, avec leurs représentations sans entraves de la vulve et de la masturbation des femmes ; et le film super 8 mm d'Angelika Levi SEX PARTY (1987, Allemagne) qui représente le derrière féminin comme un site idéal pour sniffer de la cocaïne. Dans ZERO PATIENCE (1993, Canada), John Greyson a même mis en scène les arguments théoriques complexes de Bersani comme un numéro musical interprété par les fesses de deux personnages principaux - un soi-disant duo de trous du cul - dans son hilarant film musical défiant les histoires d'origine homophobe du VIH.      Comme l'attestent ces divers exemples narratifs et non narratifs, je ne veux pas prétendre que tous les exemples de cinéma queer sont aussi stricts dans leur esthétique que <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> et TAYLOR MEAD'ASS, ni ne se concentrent tous uniquement sur le cul du mâle blanc, ses divers plaisirs et possibilités. 22 Je veux cependant plaider pour une notion de cinéma queer qui conserve une étreinte ludique et provocante de non sérieux, une représentation énigmatique des parties du corps et du désir sexuel et une approche innovante pour encadrer ces aspects de nos corps et de nos vies qui échappent souvent non seulement au sens, mais à la représentation elle-même. Ce cinéma queer de l'abstraction n'est pas motivé par l'objectif sérieux de fournir des preuves visuelles et auditives de vies et d'amours déjà existantes. Il sert plutôt à perturber les régimes de représentation conventionnels afin d'éveiller des désirs de nouvelles configurations de genre, de sexualité et de subjectivité. 1 Le titre anglais de la vidéo française est MY LEVITATING BUTT. Ces mots, cependant, n'apparaissent jamais à l'écran. Voir https://pierreyvesclouin.fr/items/show/103 (3 octobre 2018) 2 À un moment donné pendant leur vol, les fesses ressemblent également à l'énorme tête d'un pénis, ce qui est assez évident pour Clouin qui fournit une description de la vidéo en une seule phrase : '' En s'envolant, mon cul fait le gland / Mon Fesses en lévitation est un peu connard.'' Voir https://pierreyvesclouin.fr/items/show/103 (3 octobre 2018) 3 Il existe étonnamment peu de travaux universitaires sur l'œuvre singulière et inspirante de Clouin. Pour une discussion fructueuse, voir Ger Zielinski:'' Short, Quiet and Disturbing: On recent Video Work by Pierre Yves Clouin,'' in Trade (printemps 2001), pp19-21, disponible dès le 25 juillet sur le site très utile de Clouin https: //pierreyvesclouin.fr/items/show/121 4 Ziezlinski : ‘’Court, silencieux et dérangeant’’ p20. 5 c'est ainsi qu'Andrew Salgado décrit le travail de Nauman dans son essai « Sexalized : The queer Masculine body consider in Nauman and Barney » in : James Elkins and Kristi McGuire, et al(ed) : Theorizing Visual Studies : Writing Through the Discipline. New York : Rutledge 2013, pp, 246-249, p246. Il y a un débat sur la potentialité féministe et queer des premiers films de performance d'Acconci, qui semble dépendre de l'interprétation ou non de son affichage du corps masculin blanc comme une déconstruction des rôles de genre idéalisés. Pour une intervention utile, voir Jane Blocker : What the Body Cost : Desire, History and Performance. Minneapolis: University of Minnesota Press 2004, pp 8-14 6 comme je l'ai mentionné plus haut, nous voyons brièvement une partie de sa tête et du haut de son visage et pourrions peut-être utiliser ces indices visuels limités pour attribuer une identité sexuelle à l'interprète. Cependant, cela semble un peu exagéré et aussi un peu à côté du point de la vidéo. 7 Barbara Mennel : Queer Cinema : écolières, Vampires et Gay Cowboys. London Wallflower Press 2012, page 2. 8 Mennel : Cinéma Queer p 1. 9 CAROL et BROKEBACK MOUTAIN ont récemment figuré parmi les cinq premiers sur la liste du British Film Institute des meilleurs films lesbiens, gays, bisexuels et transgenres de tous les temps, voir http://www.the guardian.com/film/2016/mar/ 15/carol-named-best-lgbt-film-of-all-time (22 janvier 2019). 10 Peter Emanuel Goldman : "Lettre à l'éditeur", dans : The Village Voice, 27 août 1964, p 5. 11 Taylor Mead : « Lettre à l'éditeur,   » dans : The Village Voice, 3 septembre 1964, p 4. 12 Wayne Koestenbaum : Andy Warhol : Une biographie. New York:; Viking 200; p60. 13 « Live in your Head : When Attitudes Become Form », est le titre de la légendaire exposition de Harald Szeeman en 1969 à la Kunsthalle Bern. 14 Voir, par exemple, Jonathan Allan : Reading from Behind : A Cultural Analysis of the Anus. Cambridge, MA : Livres de zone 2016 15 Guy Hocquenghem : Homosexual Desire, traduit du français par Daniella Danger, Durham, NC : Duke University Press 1993, p111. 16 C'est l'affirmation de Douglas Crimp dans le texte de présentation au dos de l'édition 1993 de Duke University Press 17 Eve Kosovsky Sedgwick: "a Poem Is Being Written, " in:id: Tendencies, Durham, NC: Duke University Press 1993, p204, italique dans l'écriture originale de Sedgwick sur les cours d'érotisme anal et anal à travers ses textes, en particulier ses écrits sur Henry James et Charles Dickens. Pour une réflexion significative, voir "Le rectum est-il hétéro? Identification et identité dans Wings of the Dove. » Dans : id : Tendances, pp 73-74. Pour un bref résumé utile de sa réflexion sur l'analité, voir Jason Edwards : Eve Kosovsky Sedgwick. New York : Routledge 2009, pp74-76. Il semble cependant que les affirmations de Sedgwick sur le manque de sens attribué à l'érotisme anal des femmes se réfèrent uniquement aux fesses des femmes blanches. Il y a, par exemple, un discours raciste soutenu sur l'érotisme des fesses des femmes noires qui remonte à la Vénus hottentote. Voir Janell Hobson : Venus in the dark : Blackness and Beauty in Popular Culture, 2e éd., Londres : Rutledge 2018. Pour une analyse d'un discours sur les fesses des femmes latines, voir Frances Negron-Muntaner : "Jennifer's Butt, " dans : id Borietta Pop , Portoricains et latinisation de la culture américaine. New York: New York University Press 2004. Pp. 228-246. 18 Leo Bersani : "Is the Rectum the Grave ? ", dans AIDS : Cultural Analysis, Cultural Activism, (Special Issue, ed Douglas Crimp) 43 octobre (1987), pp 197-222 19 Bersani : »Rectum, » p.222. 20 Je distingue Hocquenghem, Sedgwick et Bersani pour leurs positions exemplaires dans les débats des queer studies. Une discussion plus large sur le rôle de l'anus dans la théorie queer des années 90 devrait certainement prendre en compte des travaux tels que D.A. L'analyse par Miller des soi-disant coupures invisibles d'Alfred Hitchcock dans les « fesses de ses personnages » dans « Anal Rope » dans : Diana Fuss(ed) : Inside/Out : Lesbian Theories, Gay Theories, New York, Routledge 1991. pp118-141 ; La théorisation de Lee Edelman de "behinsight" dans "Seeing things: Representation, the Scene of Surveillance, and the Spectacle of Gay Male Sex", dans : id.Homographesis. New York : Routledge 1994, p.173-191 ; L'écriture de Negron-Muntaner sur les fesses de Jennifer Lopez dans « Jennifer Butt » et la refonte de Nguyen Tan Hoang des positions sexuelles raciales et ethniques dans A View from the Bottom: Asian American Masculinity and Sexual Representation, Durham, NC: Duke University Press 2014. 21 Bien que je souligne ici la vidéo de Clouin, il existe certainement d’autres exemples des années 1990 d’un tel contre-discours queer ludique, presque parodique, sur le sujet séreux des fesses masculines. Voir, par exemple, la vidéo hilarante et absurde de Danny Fast et Joe Kelly SKULLFUCK (1991, États-Unis), dans laquelle un homme semble pénétrer le cul d'un autre avec sa tête rasée et lubrifiée. Après s'être retiré, il est recouvert d'une boue sale, qu'il lèche ensuite sur son visage. 22 pensez, par exemple, à la fantastique ode de Nguyen Tan Hoang au bottom hood américain d'origine asiatique dans la vidéo FOREVER BOTTOM (1999 US) ou à l'esthétique ingénieuse du cul de la femme blanche d'Isabel Spengler et Larry Peacock dans le court métrage SYNCH POINT (2007, Allemagne) . <a href="https://film-medien.ftmk.uni-mainz.de/univ-prof-dr-marc-siegel/">Marc Siegel</a> est professeur d'études cinématographiques à l'Université Johannes Gutenberg de Mayence depuis octobre 2020. Ses recherches portent principalement sur les questions d'études queer et de cinéma expérimental. Son livre A Gossip of Images est à paraître chez Duke University Press. Les publications incluent les volumes coédités, Serge Daney et Queer Cinephilia (meson press, 2022), Film Culture 80: The Legend of Barbara Rubin (Spector Books, 2018), Synchronisierung der Künste (Fink, 2013), Outside. Die Politik queerer Räume (b_books, 2005) et un numéro spécial 2014 de la revue Criticism on underground artist Jack Smith. Il a également été actif en tant que conservateur indépendant. Il a organisé de nombreuses séries de films et programmes pour des festivals de films et de performances, ainsi que pour des musées et des galeries, dont la Biennale de Berlin ; la Berlinale ; Tate Modern (Londres); CCCB (Barcelone), Bunkier Sztuki (Cracovie) et le Goethe Institute (Kolkata). Il a également co-organisé les festivals "EDIT FILM CULTURE!" (Berlin, 2018); « Camp/Anti-Camp : A Queer Guide to Everyday Life » (Berlin, Francfort, 2012) ; et "LIVE FILM! JACK SMITH! Five Flaming Days in a Rented World" (Berlin, 2009). Il est membre de l'Akademie der Künste der Welt à Cologne, membre du conseil consultatif de la section Forum Expanded de la Berlinale et l'un des cofondateurs du collectif d'artistes berlinois CHEAP. Il est également le directeur artistique de ZOOM – Ludwig Schönherr Lab. Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/103">MY LEVITATING BUTT</a> <a href="https://pierreyvesclouin.fr/items/show/97">COWBOY</a> <a href="https://pierreyvesclouin.fr/items/show/88">J’AI DES BOUCHES PARTOUT/I HAVE MOUTHS EVERYWHERE</a> https://pierreyvesclouin.fr/files/original/82b83cc83f9dc99b0d63cfc0f70d144f.jpeg 60ffa6b6e5bce909988646db259e59bc https://pierreyvesclouin.fr/files/original/dbb2004f18ed8091ee3bc409c71165fc.pdf 3ab55426ef316b8465a69a35c869c22d https://pierreyvesclouin.fr/files/original/cbea27741937e1f7c530c9ad3c217642.png 7dd38e1c96da07c126cd1edc4b367ea7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2023-03-16 Event Type festioval 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)" selected in Bleu Paris festival de court-métrage, Le Luminor, Paris Description An account of the resource <img title="BleuParis" src="https://pierreyvesclouin.fr/files/original/8c6702fe13d72193c522dcddbf548bf3.jpeg" alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">"Assis (Seated)"</a> selected in <a href="https://bleuparis.webador.fr/">Bleu Paris festival de court-métrage, Infiniment bleu, 1ère édition</a>, Le Luminor, Paris, France. screening : 6pm Off screened <iframe width="560" height="315" src="https://www.youtube.com/embed/zIpZfhC24_g?si=R6BDASBzJt8uTn93" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"></iframe> Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">"Assis (Seated)"</a> 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/9004f20dcb73b655bfc2940f8cbf4eea.pdf da24441d2f5d2577cbb92714ab01d3d5 https://pierreyvesclouin.fr/files/original/2885d2dca590bb40048a4f40bd0fa444.pdf 212b7b40c57effeac2c27d08906e2a72 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2016-11-4 Event Type screening 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 "Cul en l'air" in "Cheap" at the Mezipatra Queer Film Festival 2016, Prague Description An account of the resource <img title="Angouleme2019" src="http://pierreyvesclouin.fr/files/original/cb25a732e66e634491607c00920e4dd4.png" alt="" width="400px" /> <a title="CUL EN LAIR (MY LEVITATING BUTT)" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a> screened in <a title="cheap at Mezipatra2016" href="http://www.mezipatra.cz/en/festival/history/2016/off-program/684-prague-nov-4-performance-cheap-piano-bar.html" target="_self">Cheap</a>, a prgram curated by Vaginal Davis, Daniel Hendrickson, Susanne Sachsse and Marc Siegel, at the Mezipatra Queer film Festival, Prague, Czech Republic "... Received several emugs from people who attended the 4 hour endurance installation of the CHEAP Piano Bar who wanted to know about the insane films that we screened during the evening.The anti marriage PSA's were made by our very own Fearless Leader Susanne Sachsse, we also showed Hans Scheirl and Ursula Puerrer's Super 8 Girl Games, Pierre Yves Clouin's Cul en l'air, Alicija Zebrowska's The Mystery is Looking, Buddy Cole's Gay Marriage Clip featuring a cameo by Bruce “Judy”LaBruce from Kids in the Hall, “Taking a Chance on Love” number from the 1943 allblack Cabin in the Sky film by Vincente Minnelli and the CHEAPy Underground Uber Alles Award went to the late Vera Chytilova'..." Vaginal Davis Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Prague Relation A related resource <a title="CUL EN LAIR (MY LEVITATING BUTT)" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a> https://pierreyvesclouin.fr/files/original/802753304e105686f35dc9360d1d88d7.png 80b7780affc483b5bdf00e2d1cf5149e https://pierreyvesclouin.fr/files/original/e74e257ac99937a7d0d3499d217a5400.pdf dffca2cc1521506cd5f8e758136f033f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2018-10-21 Event Type Festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Une femme, "(A Woman,) selected at MiMo, Milano Description An account of the resource <img title="Femme, at MIMO" src="http://pierreyvesclouin.fr/files/original/d051503cafd70f9c189a2347c8b35f7b.jpg" alt="" width="400px" /> <a title=""Une femme," by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/1138" target="_self">"Une femme, "(A Woman,) </a> selected at <a title="MIMO 2018" href="http://www.mimofilmfestival.it/" target="_self">MiM</a><a title="Mimo 2018" href="http://www.mimofilmfestival.it/" target="_self">o</a>, Milano Mobile Film Festival, screened on October 21 at 3pm, at Teatro Continuo di Burri, Parco Sempione, Milano, Italy Relation A related resource <a title=""Une femme," by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/1138" target="_self">"Une femme, "(A Woman,)</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Milano https://pierreyvesclouin.fr/files/original/95c71be2377033bb00334bb6b8d0b0f3.pdf d964deae0474d62919e07f21afe02bc4 https://pierreyvesclouin.fr/files/original/418b1c05247e9285e1393a2155d0af9f.pdf f59ce2c4efc09df47014fa37def71fb9 https://pierreyvesclouin.fr/files/original/3033820125926220c6f92566853f1b48.pdf d86f2fc83d503a669ad4ba15b9a32b10 https://pierreyvesclouin.fr/files/original/f36ef33b0a63ab08c80e39f84ea248cf.pdf 8af934d37e41fc0baf74b8bce7c7344b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2019-03-14 2019-03-17 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Une femme," (A Woman,) selected at The 12th Rencontres Internationales Sciences & Cinémas, Marseille Description An account of the resource <img title="Risc2019" src="http://pierreyvesclouin.fr/files/original/1a53763f28c414ec9642bbd24119ef0b.jpg" alt="" width="400px" /> "<a title="une femme," href="http://pierreyvesclouin.fr/items/show/1138" target="_self">Une femme,</a>" (A Woman,) selected at The<a title="risc2019" href="http://festivalrisc.org/risc-12e-edition/" target="_self"> 12th Rencontres Internationales Sciences & Cinémas</a>, and screened Saturday March 16 at 9pm, as part of <a title="videodrome2-2019-risc" href="https://www.videodrome2.fr/la-fete-du-court-metrage-festival-risc/" target="_self">"La Fête du court", at the Videodrome 2</a>, Marseille Relation A related resource <a title="une femme," href="http://pierreyvesclouin.fr/items/show/1138" target="_self">Une femme,</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Marseille Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Website A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ). Local URL The URL of the local directory containing all assets of the website. www.filmcourtangouleme.com 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 "Une femme," and "Lumenité" in "la cave à films" at the Festival International du Film Court d’Angoulême (FIFCA) Subject The topic of the resource <img title="angouleme2020" src="https://pierreyvesclouin.fr/files/original/02210836ef7f487facf466e96428ec4a.png" alt="" width="400px" /> "Une femme," and "Lumenité" in <a href="http://www.filmcourtangouleme.com/cave-a-films/">"la cave à films"</a> at the <a href="http://www.filmcourtangouleme.com/cave-a-films/">Festival International du Film Court d’Angoulême (FIFCA) (2017-2019)</a> Angoulême, France Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1087">Lumenité</a> <a href="https://pierreyvesclouin.fr/items/show/1138">Une femme,</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Angoulême Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Event Type exhibition 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 "A Thinly Veiled Threat" Description An account of the resource <a title=""Put Your Hands On Your Head"" href="http://pierreyvesclouin.fr/items/show/104" target="_self">"Put Your Hands On Your Head" (Les Deux mains sur la tête,</a> 1997) was screened at SMART Cinema, at the <a title="http://www.smartprojectspace.net/" href="http://www.smartprojectspace.net/">SMART Project Space</a> in Amsterdam, Netherlands, on May 11 and 14, in "Undermining the Overview," part three of the center's video series "A Thinly Veiled Threat." <div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2003-05-11 to 2003-05-14 Relation A related resource <a title=""Put Your Hands On Your Head"" href="http://pierreyvesclouin.fr/items/show/104" target="_self">"Put Your Hands On Your Head" </a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Amsterdam exhibition Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2014-08-02 Event Type screening 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 "Absolutely Corkscrew" in Exploding Seenema at Shuffle Festival, London Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/d716d049ff9f4649a64e800cdb6c32b8.jpg" alt="" width="400px" /> "Absolutely Corkscrew" in <a title=""absolutely Corkscrew" by Pierre Yves Clouin in Exploding Cinema at Shuffle Festival" href="http://www.shufflefestival.com/" target="_self">Exploding Seenema at Shuffle Festival, London, UK</a> Relation A related resource <a title=""absolutely corkscrew" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/665" target="_self">Absolutely Corkscrew</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant London London Screening https://pierreyvesclouin.fr/files/original/4c9ab174eb7d2087c2138d309ed5b907.pdf d199fa585e9b15574da0024c4aad2df3 https://pierreyvesclouin.fr/files/original/9504cb60ebe10b5afa12311bb8c4ec28.pdf a008c9a340a02090bef62de51116bedb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. "All you Can Eat : homosexuelle Pornografie und künstlerischer Film."  Pierre Yves Clouin In der Zwischenzeit gibt es viele bildende Künstler, die ihre eigene Homosexualität offensiv thematisieren. Der Einfluss der eigenen Sexualität auf die künstlerische Arbeit ist zu einem festen Topos geworden. Ein Beispiel dafür, wie heute selbst- verständlich mit der Homosexualität in der Kunst – hier Videokunst – umgegangen wird, sind die Arbeiten des französischen Künstlers Pierre Yves Clouin. Auch hier spielt die Inszenierung vor der Kamera und der Aspekt des Zeigens eine große Rolle: Exhibitionismus und Voyeurismus kommen in Videos wie <a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l’air </a> (1997) voll zum Tragen. Seine minimalistischen Videos sind Performances, die filmisch verdichtet sind. Einerseits stehen sie in der Tradition der Body Art der 1960er und -70er Jahre – z.B. die Arbeiten von Carolee Schneemann und Valie Export –, andererseits erhalten die Videos durch ihre Direktheit und Perspektive eine pornografische Dimension. Insbesondere in der Performancekunst gab es immer wieder Aktionen, die als pornografisch bezeichnet wurden: Bekanntestes Beispiel sind sicherlich die Happenings der Wiener Aktionisten um Otto Mühl, Günter Brus und Herrmann Nitsch, die aber immer aufgrund ihrer Intention und ihrer Artikulationsweise den eng gesetzten Rahmen der Pornografie durchbrachen. Oftmals besaßen diese Akti- onen und Performances einen politisch-utopischen Kern und waren Rituale wider das Domestizierte.  Von dieser utopischen Sprengkraft ist in den Videos von Pierre Yves Clouin nichts zu spüren. Bei Clouin handelt es sich um Körpererkundungen, die mitunter narzisstisch anmuten. An dieser Stelle kann durchaus gefragt werden, inwiefern der Impetus eines Videokünstlers und eines Pornodarstellers identisch ist, den eige- nen Körper offensiv zur Schau zu stellen. Beim Künstler geht es im Unterschied zum Pornodarsteller oftmals um die Zurschaustellung des Unperfekten, um die Reflexion von Körperpolitiken im Zusammenhang mit Massenmedien und um die Transformation des Körpers zu einem Instrument bzw. künstlerischem Material. Ein unaufgelöster Rest bleibt jedoch im Vergleich von künstlerischem und por- nografischem Film – z.B. der Wunsch nach direkter Ansprache eines anonymen Publikums. Und so heißt es in einer Kritik zu <a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l’air </a>: <blockquote>„My levitating butt is a bit of a prick. This conceptual videotape transforms a man’s buttock into the head of a giant penis. Luckily, it doesn’t blow its load.“</blockquote> Schlußbemerkung <a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a> (1996) – ebenfalls von Clouin – markiert aber auch den Unterschied zwischen eindimensionaler Pornografie und der künstlerischen Dimension eines Films, der immer auch einen Raum für Imagination und Assoziation öffnet. Das, was der Zuschauer bzw. die Zuschauerin in <a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room </a>zunächst zu sehen glaubt, wird letztendlich enttäuscht. Im Gegensatz zur Ästhetik der Eindeutigkeit und dem Konzept der Inkorporie- rung des Betrachters oder der Betrachterin im pornografischen Film besitzt jeder künstlerische Film etwas Uneindeutiges oder löst Eindeutigkeiten auf. Irritation und Distanzierung sind Aspekte, die dem pornografischem Prinzip fremd sind. Es stellt sich die Frage, ob der künstlerische Film überhaupt pornografisch sein kann. Vielleicht wäre es besser, wie Peter Gorsen von einer „uneigentlichen Obszönität in der Kunst“1 spricht, von einer „uneigentlichen Pornografie im künstlerischen Film“ zu sprechen, weil die Filme trotz unverblümter Darstellungen immer ein Mehr an Wahrnehmung bieten. Pornografie will – auch wenn die Unterscheidung zwischen Kunst und Pornografie oft wie ein verklemmtes Feigenblättchen zu wirken scheint – im Gegensatz zu einer künstlerischen Intention im Umgang mit Darstellung von Sexualität „durch nichts Krummes in ihrem Ziel, Lust zu wecken (...) gestört wer- den.“...2 Ulrich Wegenast, Freiburger FrauenStudien, vol. 10, issue 15, 2004,  pp. 293-314. <hr /> Pierre Yves Clouin ...[T]here are many visual artists who aggressively thematize their own sexuality. The influence of one's own sexuality on the artistic work has become an established topos. One example of how homosexuality is now naturally dealt with in art – here film – are the works of the French artist Pierre Yves Clouin. Here, too, the aspect of staging in front of the camera and the aspect of showing play a big role: exhibitionism and voyeurism take full effect in films such as <a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l’air </a> (1997). His minimalist videos are performances that are filmically condensed. On the one hand, they stand in the tradition of 1960s and 1970s Body Art – e.g. the works of Carolee Schneemann and Valie Export. On the other hand, the videos acquire a pornographic dimension through their directness and perspective. Especially in performance art there have consistently been actions that have been described as pornographic: the most well-known examples are certainly the happenings of the Viennese Actionists around Otto Mühl, Günter Brus and Herrmann Nitsch, which, because of their intention and manner of articulation, broke the tightly-set framework of pornography. Often, these actions and performances had a political utopian core and were rituals against the domestic. This utopian force is not at all palpable in the videos of Pierre Yves Clouin. His work is one of body explorations, which occasionally appear narcissistic. At this point one may well ask to what extent the impetus to aggressively display one's own body is identical for a video artist and for a porn actor. For the artist, unlike the porn actor, it is often about the display of the imperfect, the reflection of body politics in relation to mass media, and about the transformation of the body into an instrument or artistic material. An undissolved remainder lingers however in the comparison between artistic and pornographic film – e.g. the wish to directly address an anonymous audience. And so a critical review of <a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l’air </a>  says: <blockquote>“My levitating butt is a bit of a prick. This conceptual videotape transforms a man's buttocks into the head of a giant penis. Luckily, it doesn't blow its load.”</blockquote> Closing Remarks <a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a> – likewise by Clouin – also marks however the difference between one-dimensional pornography and the artistic dimension of a film that always also opens up room for imagination and association. What the viewers of <a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a> at first believe they are seeing is eventually thwarted. In contrast to the pornographic film's aesthetics of definiteness and its concept of the incorporation of the viewers, every artistic film contains something ambiguous or dissolves clarities. Confusion and distancing are aspects that are foreign to the pornographic principle. The question emerges whether the artistic film can be pornographic at all. As Peter Gorson speaks of an “inauthentic obscenity in art,”1 it would be better to speak of an “inauthentic pornography in the artistic film,” because these films, despite their explicit depictions, always provide a widening of perspective. Contrary to an artistic intention in dealing with depicting sexuality, pornography – even when this distinction between art and pornography often seems like a fig leaf – does not want to be “bothered by anything awry in its aim to arouse desire.”2 Ulrich Wegenast, Freiburger FrauenStudien, vol. 10, issue 15, 2004,  pp. 293-314 (excerpt). Translation: Heinrich-David Baumgart  <hr /> Pierre Yves Clouin .. [T] il ya beaucoup d'artistes qui thématisent agressivement leur propre sexualité. L'influence de sa propre sexualité sur l'œuvre artistique est devenue un topos établi. Les œuvres de l'artiste français Pierre Yves Clouin sont un exemple de comment l'homosexualité est naturellement  maintenant traité dans l'art - ici le film. La encore le fait d’être face caméra et en représentation jouent un grand rôle: l'exhibitionnisme et le voyeurisme font pleinement effet dans des films comme <a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l’air </a> (1997). Ses vidéos minimalistes sont des représentations condensées en film. Ils se tiennent d’une part de la tradition du Body Art des années 1960 et 1970 - des travaux de Carolee Schneemann et Valie Export par ex. et d'autre part, ces vidéos acquièrent une dimension pornographique par leur franchise et leur perspective. Il y a toujours eu dans l'art de la performance, notamment, des actions qui ont été décrites comme pornographiques: les exemples les plus connus sont certainement les happenings des actionnistes viennois autour d'Otto Mühl, Günter Brus et Herrmann Nitsch qui, en raison de leur intention et de leur mode d’articulation, ont brisé le cadre étroitement fixé de la pornographie. Souvent, ces actions et performances avaient un utopique noyau politique et étaient des rituels contre la domesticité. Cette force utopique n'est pas palpable dans les vidéos de Pierre Yves Clouin. Son travail est une exploration du corps, parfois narcissique. À ce stade, on peut se demander dans quelle mesure l'impulsion à afficher agressivement son propre corps est identique pour un artiste vidéo et pour un acteur porno. Pour l'artiste, à la différence de l'acteur porno, il s'agit souvent de l'affichage de l'imparfait, de la politique du corps par rapport aux médias de masse et de transformation du corps en instrument ou en matériel artistique. Toutefois il reste un fond non résolu dans la comparaison entre le film artistique et le film pornographique - par exemple le désir de s'adresser directement à un public anonyme. Ainsi, une critique de <a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l’air </a> dit: «En s’envolant mon cul fait le gland. Cette bande vidéo conceptuelle transforme les fesses d'un homme en gland de pénis géant. Heureusement, il ne crache pas. “ Mot de la fin <a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a> - du même Clouin - marque aussi la différence entre la pornographie unidimensionnelle et la dimension artistique d'un film qui lui, ouvre toujours la place à l'imagination et à l'association. Ce que les spectateurs dans la salle croient d'abord voir dans <a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a> est finalement contrecarré. Contrairement à l'esthétique et le concept d'incorporation des téléspectateurs du film pornographique, chaque film artistique contient quelque chose d'ambigu où la clarté est dissoute. Confusion et distanciation sont des aspects qui sont étrangers au principe pornographique. La question se pose de savoir si le film artistique peut être vraiment pornographique. Comme Peter Gorson parle d'une ”obscénité inauthentique dans l'art”1, il serait préférable de parler d'une ”pornographie inauthentique dans le film artistique”, car ces films, malgré leurs représentations explicites, offrent toujours un élargissement de perspective. Contrairement à une intention artistique de représenter la sexualité, la pornographie - même si cette distinction entre l'art et la pornographie semble souvent une feuille de vigne - ne veut pas être ”dérangée dans son objectif de susciter le désir par quelque chose de tordu”2. Ulrich Wegenast, Freiburger FrauenStudien, vol. 10, issue 15, 2004,  pp. 293-314 (extrait). 1 Gorson, Peter: Sexualästhetik. Grenzformen der Sinnlichkeiit im 20. Jahrhundert, Reinbek bei Hamburg, 1987. 2 Mertner, Edgar and Herbert Mainusch: Porntopia. Das Obszöne und die Pornografie in der literarischen Landschaft, Frankfurt/./Bonn, 1970, S.88. 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 "All You Can Eat – Homosexuelle Pornografie und künstlerischer Film" by Ulrich Wegenast Subject The topic of the resource <a title="text by U Wegenast" href="budrich-journals.de/index.php/fgs/article/download/2330/1934" target="_self">Text</a> about Robert Mapplethorpe, Kenneth Anger, Jack Smith, Michael Brynntrup, Bruce LaBruce, Jürgen Brüning, Pierre Yves Clouin Date A point or period of time associated with an event in the lifecycle of the resource 2004 Rights Information about rights held in and over the resource Ulrich Wegenast Language A language of the resource De Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Freiburg, Germany Relation A related resource <a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room </a><a title=""Cul en l'air" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/103" target="_self">Cul en l'air</a> https://pierreyvesclouin.fr/files/original/7c19387f624438f294734dfee597a5cc.jpeg 5656372e0df153a9e2192df128d290a1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. ... The work reflects on the definition of 'imperfect' bodies and questions the way in which the public juges the value of an individual's existence through humorous, sarcastic yet powerful performances and unique aesthetics. Films by Thierry De Mey, Laurent Goldring, Antonin De Bemels, Wim Vandekeybus and Pierre Yves Clouin, in particular, 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' (Walon 2016: 1)... 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 "Artistic Behaviour and Aesthetic Exploration in Western Experimental Screen Dance" by Yang Yi, Dance Studies in China edited by Deng Youling and Zhang Yanjie Description An account of the resource <img src="https://pierreyvesclouin.fr/files/original/cb199710b218e046cc07e90adeefe81c.jpeg" alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1189"> "Artistic Behaviour and Aesthetic Exploration in Western Experimental Screen Dance" by Yang Yi, Dance Studies in China edited by Deng Youling and Zhang Yanjie</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bristol Chicago Date A point or period of time associated with an event in the lifecycle of the resource 2022 https://pierreyvesclouin.fr/files/original/927102f3e195feae8b6d3c5805a178b6.bmp 986d4f37ed05896fa591b2eb07cd94fc https://pierreyvesclouin.fr/files/original/4dcc47a5a1bf54b5163a343510d822b9.png cb11f0556407798aa697c5d0835f69a9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2023-05-25 2023-06-26 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated) selected in the 5th edition of the Montenegrian online smartphone international film festival (MOSIFF) Description An account of the resource <img title="MOSIFF2023" src="https://pierreyvesclouin.fr/files/original/3db399dd9eeba6606fc4df493328332e.jpg" alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> selected in the <a href="https://mosiff.webs.com/">5th edition of the Montenegrian Online Smartphone Iternational Film Festival (MOSIFF)</a>, Podgorica, Montenegro <div> </div> <div> <div>Live event on June 26 at:</div> <div> <div>KIC " <a href="https://kicpodgorica.me/">Kulturno - Informativni Centar "Budo Tomović" </a></div> <div><a href="https://www.facebook.com/ejcsejdefa/?show_switched_toast=0&show_invite_to_follow=0&show_switched_tooltip=0&show_podcast_settings=0&show_community_review_changes=0&show_community_rollback=0&show_follower_visibility_disclosure=0">Ethno Jazz Club Sejdefa</a></div> </div> </div> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Podgorica Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> https://pierreyvesclouin.fr/files/original/8857f281c54fc51c347904a7ece9d3f2.pdf 745b92531f7a6bf90ada5bfe29192687 https://pierreyvesclouin.fr/files/original/6525aea7571806eeecc2d37593d69b08.JPG f4090630a6809fe8f1f227c92126d7cd https://pierreyvesclouin.fr/files/original/73ca432c5d253b1349eedf18f53416f9.JPG cb0dd0adf380527f7af963ab919b2dcf https://pierreyvesclouin.fr/files/original/77760667a66f7ea559fcb794d44730e0.JPG bb9b4bff9848e36a09c6501a50753ade Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2024-11-09 Event Type screening 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)" , "Rain Again" and "Maxillae" in "h i g h" art film screenings 420 TRIP SHOW at Top Lab, Berlin Description An account of the resource <img title="high art 420trip show" src="https://pierreyvesclouin.fr/files/original/f8cb3f591ccf143d5c801620c428c74f.gif " alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated) </a>, <a href="https://pierreyvesclouin.fr/items/show/1634">Rain Again</a> and <a href="https://pierreyvesclouin.fr/items/show/1695">Maxillae</a> in "h i g h" art film screenings 420 TRIP SHOW at Top Lab, Berlin, Germany Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated) </a> <a href="https://pierreyvesclouin.fr/items/show/1695">Maxillae</a> <a href="https://pierreyvesclouin.fr/items/show/1634">Rain Again</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Berlin https://pierreyvesclouin.fr/files/original/0093fd260be9007c98446e94c9459d2c.jpeg a885df555517ae5f45abed189f884518 Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2024-06-27 2024-06-30 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated)" and "Rain again" selected by Esto Es Para Esto Exhibidora de Cine, Monterrey Description An account of the resource <img title="EstoesParaEsto2024" src="https://pierreyvesclouin.fr/files/original/a895b9138b0bcd988b869bacf88d6065.jpg " alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1634">Rain Again</a> and <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated) </a>selected by <a href="https://linktr.ee/estoesparaesto">Esto Es Para Esto Exhibidora de Cine</a>, Monterrey, Nuevo León, Mexico Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1634">Rain Again</a> <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Monterrey https://pierreyvesclouin.fr/files/original/3c716089e2df869251c78ba5a4928da3.jpeg 1a1c6b3eb9cba884c63d46c81af42754 https://pierreyvesclouin.fr/files/original/0e6218ea5a223975233f21801e79beae.png 1ad12f28805292bc06e606719cc61068 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2024-03-23 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated)" selected in Bleu Paris Film Festival, Paris Description An account of the resource <img title="videonodocs23 " src="https://pierreyvesclouin.fr/files/original/1aed2a154f9a0f08c5cd6bc8e127eaac.png " alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> selected in <a href="https://www.helloasso.com/associations/bleu-paris-festival-de-court-metrage">Bleu Paris Film Festival - Off</a>, Le Luminor Hotel de Ville, Paris. <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> will be screened on March 23, 2023, at the Le LUMINOR Hôtel de Ville cinema at 5:00 PM - 20 rue du Temple, 75004 Paris. Program: 5:00 PM: Off screening 7:00 PM: Official screening 10:00 PM: Jury and Audience awards ceremony. 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 Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> https://pierreyvesclouin.fr/files/original/1de7b1fd489cff259c19109ea1123c8a.JPG 19ef2571db48f31462b4e48252a052c1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2023-11-11 2023-11-15 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated)" selected in Black Cat Award International Film Festival, La Paz Description An account of the resource <img title="BlackCat23 " src="https://pierreyvesclouin.fr/files/original/023249fa3270908527dcb1f4ae3475da.jpg " alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> selected in <a href="https://www.wfcn.co/festival/black-cat-award">Black Cat Award International Film Festival,</a> La Paz, Bolivia Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant La Paz https://pierreyvesclouin.fr/files/original/c020c271c5c2ee6e398d55321572751c.jpeg 5172db2125d180123b25987b7d56c927 Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2024-10-12 2024-10-17 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated)" selected in Kyiv International Short Film Festival, Kyiv Description An account of the resource <img title="Kyif ISFF" src="https://pierreyvesclouin.fr/files/original/23ba05a5e61e198a26c9fd0426707b2a.png" alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">"Assis (Seated)"</a> selected in <a href="https://www.kisff.org/ua/program24/60x60-en">Kyiv International Short Film Festival</a>, Kyiv, Ukraine, and screened in the "60 films in 60 minutes" program, Thursday September 12 And in additional svreenings in May 2025 in Kyiv and 3 other cities in Ukraine and on a online platform during 30 days accessible exclusively within the country Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">"Assis (Seated)"</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Kyiv https://pierreyvesclouin.fr/files/original/fefe8e6b6b9c6e347827a50a7b9e1de0.jpeg 8bfd5ce63d5945d0d8d2d1cc3a13b570 https://pierreyvesclouin.fr/files/original/c3a4ce71c1ff1978af83eee9fef80a63.png 9a2cc06d0b6a06195abda38c51f5c0d2 https://pierreyvesclouin.fr/files/original/50f55559e4c05978239342c52d449ebc.png 5c561f2043ace532f77f9a35a6527a68 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2023-05-19 2023-06-10 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated)" selected in the Azores Fringe Festival, Azores Description An account of the resource <img title="Azores2023" src="https://pierreyvesclouin.fr/files/original/823e9d40fca3a94361010284042a0c76.png" alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> selected in the <a href="http://mirateca.com/fringe/default.aspx">Azores Fringe Festival</a>, Azores, Portugal Screening: "Curtas Curtinhas", Auditorio Municipal Das Lajes Do Pico, June 08 - 9pm Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Pico, Azores https://pierreyvesclouin.fr/files/original/b7434682a21646784c5bc35f86eaabd2.png e4fd6c00256db4e2d3d1f86016d8ec40 https://pierreyvesclouin.fr/files/original/0ce50d7321c78a8eefe8738d08e92042.JPG 17c75bbf0d30558577316140205b6f9a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2022-12-16 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated)" selected in the Santa Dev International Film Festival , Tamil Nadu Description An account of the resource <img title="SantaDev" src="https://pierreyvesclouin.fr/files/original/3c8f631d29ccaeebc6e442b4aeb5e5ce.jpg" alt="" width="400px" /> "Assis (Seated)" selected in the<a href="http://santadevfilmfestival.co.in/"> Santa Dev International Film Festival</a> , Tamil Nadu, India Special Jury Award, Best Experimental Short Film Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Tamil Nadu Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> https://pierreyvesclouin.fr/files/original/5b94967833d314653618c5bacf247193.JPG bbceaece7199a1ac0f2f40fac7c353bb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2022-12- 13 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource "Assis (Seated)" selected in the Thilsri International Film Festival , Karaikudi Description An account of the resource <img title="thilsri" src="https://pierreyvesclouin.fr/files/original/eacf8de926da2f64b7f3f009163e3b65.jpg" alt="" width="400px" /> <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> selected in the <a href="http://thilsrifilmfestival.co.in/winner.html">Thilsri International Film Festival</a> , Karaikudi, Talmil Nadu, India Best One Minute Short Film Relation A related resource <a href="https://pierreyvesclouin.fr/items/show/1495">Assis (Seated)</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Karaikudi