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                <text>&lt;em&gt;Rodin des bois&lt;/em&gt; (Rodin Wood)</text>
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                <text>&lt;img title="RodindesBois" src="https://pierreyvesclouin.fr/files/original/2da92871610f8aab7698b05dd44a4935.jpeg" alt="" width="400px" /&gt;&#13;
&lt;p&gt;&lt;strong&gt;you can see the movie at the bottom of the page&lt;/strong&gt;&lt;em&gt;&lt;br /&gt;&lt;br /&gt;Le Rodin du rondin de&amp;nbsp;&lt;/em&gt;&lt;em&gt;l’arbre qui cache la forêt&lt;br /&gt;&lt;/em&gt;Cannot see the forest for the trees&lt;/p&gt;&#13;
&lt;p&gt;&lt;em&gt;"Troncs arrachés, souches brisées, branches pendantes… tous ces fantômes de bois&amp;nbsp;habitent la forêt. Les formes monstrueuses et hybrides que la nature crée de son&amp;nbsp;propre effondrement deviennent ici, dans le cadre que pose furtivement Pierre-Yves&amp;nbsp;Clouin, le visage d’une chimère, le profil d’une loutre, un œil de serpent. "&lt;/em&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;"Sheared off trunks, smashed roots, dangling branches... all these phantoms of wood dwell in the forest.&amp;nbsp;&lt;/span&gt;&lt;span&gt;Monstrous, hybrid shapes that nature creates through her own collapsing, framed here in Pierre Yves Clouin's furtive gaze,&amp;nbsp;&lt;/span&gt;&lt;span&gt;are transformed into the face of a chimera, the profile of an otter, or the eye of a serpent".&lt;/span&gt;&lt;/p&gt;&#13;
&lt;em&gt;&lt;a title="FID Marseille" href="http://pierreyvesclouin.fr/items/show/657" target="_self"&gt;FID&lt;/a&gt;&amp;nbsp;Marseille&lt;br /&gt;&lt;/em&gt;&#13;
&lt;div&gt;&lt;span&gt;&amp;nbsp;&lt;/span&gt;&lt;/div&gt;&#13;
&lt;p&gt;&lt;strong&gt;&lt;span class="style_3"&gt;exhibitions and screenings of &lt;em&gt;”Rodin des bois”&lt;/em&gt;:&lt;/span&gt;&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p class="paragraph_style_5"&gt;&lt;span class="style"&gt;&lt;strong&gt;2013&lt;/strong&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;&lt;span class="style"&gt;&lt;span class="style_3"&gt;&lt;a title="FID 2013" href="http://pierreyvesclouin.fr/items/show/657" target="_self"&gt;FID&lt;/a&gt;,&amp;nbsp;&lt;/span&gt;Festival International de Cinema, Marseille,&lt;/span&gt;&amp;nbsp;France&lt;/li&gt;&#13;
&lt;li&gt;&lt;span class="style"&gt;&lt;span class="style_3"&gt;&lt;a title="exploding cinema" href="http://www.explodingcinema.org/" target="_self"&gt;E&lt;/a&gt;&lt;/span&gt;&lt;a title="exploding cinema" href="http://www.explodingcinema.org/" target="_self"&gt;xploding Cinema&lt;/a&gt;'s Phone Made Films,&amp;nbsp;&lt;a title="Doc Fest Sheffield, UK" href="http://sheffdocfest.com/films/show/5363" target="_self"&gt;Sheffield Doc/Fest&lt;/a&gt;,&amp;nbsp;Sheffield,&lt;/span&gt;&amp;nbsp;UK&lt;/li&gt;&#13;
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&lt;br /&gt;&lt;em&gt;"&amp;nbsp;&lt;a title="&amp;quot;Shooting Star&amp;quot; by PY Clouin" href="http://pierreyvesclouin.fr/items/show/687" target="_self"&gt;Shooting Star&lt;/a&gt;&amp;nbsp;: étoile filante ou étoile que l’on a filmée, la double traduction amorce le propos de Pierre Yves Clouin qui n’a jamais abandonné cette possibilité de double lecture. Qu’il filme en ses débuts, son corps en « contenu explicite » comme les catalogues qualifient ses œuvres, alors la vidéo s’intitule&amp;nbsp;&lt;a title="&amp;quot;cowboy&amp;quot; by PY Clouin" href="https://pierreyvesclouin.fr/items/show/%20http://pierreyvesclouin.fr/items/show/1105" target="_self"&gt;Cow Boy&lt;/a&gt;, en accord avec le plan de bas du corps, jambes écartées, en position de duel, mais la main attouche le sexe. Le corps, nu encore, devient (&lt;a title="&amp;quot;c'est le veau qui bêle&amp;quot; by PY Clouin" href="http://pierreyvesclouin.fr/items/show/107" target="_self"&gt;c’est) le veau qui bêle&lt;/a&gt;&amp;nbsp;grâce au cadrage détournant le visage et se jouant des mouvements des membres, de même&amp;nbsp;&lt;a title="&amp;quot;Workman&amp;quot; by PY Clouin" href="http://pierreyvesclouin.fr/items/show/99" target="_self"&gt;Workman&lt;/a&gt;&amp;nbsp;transforme ce corps humain en être différent…&amp;nbsp;&lt;br /&gt;Depuis ce sont les objets, les lieux, les éléments qui sont ainsi détournés pour seul exemple :&amp;nbsp;&lt;a title="&amp;quot;Rodin des bois&amp;quot; by PY Clouin" href="http://pierreyvesclouin.fr/items/show/654" target="_self"&gt;Rodin des bois&lt;/a&gt;&amp;nbsp;entraîne au versant de l’étrange, des troncs devenant chimères.&amp;nbsp;&lt;br /&gt;En un nouvel esprit des choses, Clouin sait créer des beautés cachées, dans l’immédiateté de leur rencontre au gré de ses déplacements. Il accepte l’invitation.&amp;nbsp;&lt;br /&gt;Du quotidien, il trouve la tension, le moment où l’on se plaît à voir autre chose que ce qui est ; alors il déclenche l’appareil qu’il porte ; léger, il le tient près de son regard curieux cela peut être le téléphone désormais et précisément pour&amp;nbsp;&lt;a title="&amp;quot;Shooting Star&amp;quot; by PY Clouin" href="http://pierreyvesclouin.fr/items/show/687" target="_self"&gt;Shooting Star&lt;/a&gt;. Curieux, c’est prendre soin/cura en latin.&amp;nbsp;&lt;br /&gt;Le film interstitiel s’évade de la reconnaissance quotidienne : ainsi un reflet du portable – allumé incidemment, explique PY Clouin, sur la fonction « lampe de poche » – devient l’étoile filante porteuse de vœu et ici porteuse du film.&amp;nbsp;&lt;br /&gt;Les plans se saccadent, se succèdent selon l’itinéraire, les bruits urbains sont plus ou moins précis, la lumière varie ainsi que la couleur allant jusqu’au vert si éloigné de notre imagerie de la ville. En effet de travelling, le halo passe de vitrine à vitre de voiture, à fenêtres et baies d’appartement, de bureaux, de magasins… il glisse sur des grilles variées, des claustras, passe au plein ciel. La petite lumière s’accélère jusqu’au filage, le quotidien « s’expanse », l’autre est à portée de l’œil qui sait voir, il se prête à l’invention de filmer."&lt;br /&gt;&lt;a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self"&gt;Simone Dompeyre&lt;/a&gt;&lt;br /&gt;&lt;a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self"&gt;Avril 2018&lt;/a&gt;&lt;br /&gt;&lt;a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self"&gt;Rencontres Traverse Vidéo, Toulouse, France&lt;/a&gt;&lt;/em&gt;</text>
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&lt;p&gt;&lt;strong&gt;you can see the movie at the bottom of the page&lt;/strong&gt;&lt;em&gt;&lt;br /&gt;&lt;br /&gt;Morve à boire ne peut pas vous sentir&lt;/em&gt;&lt;/p&gt;</text>
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&lt;p&gt;This single take seems utterly random, like most of Clouin's films, but it has a serious sting in its tale as it tracks up an evening street in Paris, where the pavement is full of cafe tables and boistrous people. Then at the end we stop, the sound fades, and we retrace our steps to where we might have seen something rather shocking. The film catches you off guard with its simple yet pointed way of expressing something very important. 8.Mar.03 llgff&lt;/p&gt;&#13;
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&lt;p&gt;Strange short film that doesn't really make sense but somehow generates a feeling of furtive and dangerous lust, as it features just a few images, filmed surreptitiously, of guys fumbling sexually out of view of the general public. The camera catches them--either in pairs or on their own--only because it knows where to look. The images are all illicit, sneaky, through bars, around corners or extremely close so no one knows someone's filming. Half of the short is in split screen, it's completely silent, and features one title in the middle: "in jail now". So there. 8.Mar.03 llgff&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;LUNCH &lt;/strong&gt;&lt;/p&gt;&#13;
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&lt;p&gt;This self-consciously arty short obviously has a point but I missed it. It opens with a black and white crawl down a filthy tunnel lined with rubbish, then it cuts to colour images of a bunch of muscly men standing in a group, dancing, watching something. The camera caresses their bare chests, they flash their bums at each other, it goes on and on. Then we see the rubbish again. Oh and along the way we catch a glimpse of a butterfly sitting on a toe ... or perhaps another appendage. What it's about--and what the title means--is anyone's guess. 8.Mar.03 llgff&lt;/p&gt;</text>
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