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&#13;
1. "Il ne vous le fait pas dire" (1995, tiré à 200 ex) référence à une une installation photo sur les vitres de l'atelier 19, 19 allée Marc chagall 75013 Paris, visible depuis le jardin Joan Miro, en face&#13;
&#13;
2. "faites comme chez vous"  (1995, tiré à 150 ex)&#13;
cassette pour répondeur téléphonique sur laquelle est enregistré notre message (de Tony Paschall et Pierre Yves Clouin) à installer sur son propre répondeur&#13;
&#13;
3. gant en latex(1995, tiré à 150 ex)&#13;
&#13;
4. entendre (1996, tiré à 150 ex)&#13;
&#13;
5. ça (1996, tiré à 150 ex)&#13;
&#13;
6. Carte de membre (d'après le dessin de Leonard de Vinci d'un anus) (1997, tiré à 200 ex)&#13;
&#13;
7. If you use ecstazy (1996, tiré à 150 ex)&#13;
&#13;
8. In memoriam (1996, tiré à 200 ex)&#13;
lettre relative à la chapelle Ste Rita de Fontenay aux roses&#13;
&#13;
9. Bien rentrée (1996, tiré à 1500 ex)&#13;
&#13;
10. Party Wear (1996, tiré à 250 ex)&#13;
&#13;
11. Leur planche à repasser (1997, tiré à 250 ex)&#13;
&#13;
12. et demain est un autre jour (cassette vhs PAL tiré à 150 ex)&#13;
&#13;
13. Fist le décor (1997, tiré à 250 ex)&#13;
&#13;
14. NUL (1997, tiré à 250 ex)&#13;
&#13;
15. commande public (1997, tiré à 250 ex)&#13;
&#13;
16. pensez à un chiffre... (1997, tiré illimité)&#13;
&#13;
17. calendrier 1998 (1997, tiré à 200 ex)</text>
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              <text>Pensez à un chiffre au dessus de 50.&#13;
Concentrez vous sur ce chiffr.&#13;
Multipliez le par deux.&#13;
Retenez bien celui-là.&#13;
C'est votre chiffre.&#13;
Prenez votre chéquier.&#13;
Ouvrezle.&#13;
Inscrivez votre chiffre suivi d'une virgule et de deux zéros sur la ligne en haut à droite du chèque devant vous.&#13;
Ce chiffre, c'est la somme.&#13;
Inscrivez la somme en toutes lettres sur la ou les deux lignes appropriées.&#13;
Etablissez ce chèque à l'ordre de PY Clouin.&#13;
Signez et datez.&#13;
Détachez le chèque de votre chéquier, sans déchirer ni l'un ni l'autre.&#13;
Envoyez-le au plus vite à: PY Clouin X TF Paschall, 19 allée Marc Chagall, 75013 Paris.&#13;
Vous recevrez, libellé à votre nom:"Notre Certificat de Reconnaissance Eternelle".</text>
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                <text>© Pierre Yves Clouin &amp; Tony Frank Paschall</text>
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                <text>&lt;em&gt;Rencontre fortuite d'une écharpe et d'un tapis presque du même rouge&lt;/em&gt; (Fortuitous encounter of a scarf and a rug almost the same red)</text>
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&lt;p&gt;&lt;strong&gt;you can see the movie at the bottom of the page&lt;br /&gt;&lt;br /&gt;exhibitions and screenings of ”Rencontre fortuite d'une écharpe et d'un tapis presque du même rouge”: &lt;/strong&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;2013&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;&lt;a title="rencontre at Exploding Cinema" href="http://pierreyvesclouin.fr/items/show/662" target="_self"&gt;Exploding Cinema at Canterbury Arms, Brixton, UK&lt;/a&gt;&lt;/li&gt;&#13;
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&lt;p&gt;&lt;strong&gt;&lt;strong&gt;2015&lt;/strong&gt;&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;&lt;a title="Onion city Film Festival 2015" href="http://pierreyvesclouin.fr/items/show/677" target="_self"&gt;Onion City Experimental Film and Video Festival,&lt;/a&gt; Chicago Filmmakers, Chicago, Illinois, USA&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;p&gt;&lt;strong&gt;2014&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;EXPLODING&amp;nbsp;CINEMA,&amp;nbsp;Peckham Liberal Club, London, UK&lt;/li&gt;&#13;
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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;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;
&lt;/ul&gt;&#13;
&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 class="paragraph_style_2"&gt;&lt;strong&gt;2005 &lt;/strong&gt; &lt;span class="style_4"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="paragraph_style_2"&gt;&lt;strong&gt;.&amp;nbsp;&lt;/strong&gt;San Francisco Cinematheque presents &lt;a title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/"&gt;"We Cannot exhibit It: The Videos of Pierre Yves Clouin,"&lt;/a&gt; Yerba Buena Center for&amp;nbsp;the Arts, San Francisco, USA&lt;/p&gt;&#13;
&lt;p class="paragraph_style_2"&gt;&lt;strong&gt;2003&lt;/strong&gt;&lt;span class="style_4"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="paragraph_style_2"&gt;&lt;strong&gt;.&amp;nbsp;&lt;/strong&gt;&lt;a href="https://pierreyvesclouin.fr/items/show/247"&gt;World Wide Video Festival,&lt;/a&gt; Amsterdam, The Netherlands&lt;span class="style_4"&gt; &lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="paragraph_style_2"&gt;&lt;strong&gt;2002&lt;/strong&gt;&lt;span class="style_4"&gt;&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="paragraph_style_2"&gt;&lt;strong&gt;.&amp;nbsp;&lt;/strong&gt;MIX NYC, Anthology Film Archives NYC, New York, USA&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;&lt;a href="https://pierreyvesclouin.fr/items/show/247"&gt;A text by program director Remco Vlaanderen - WorldWide Video Festival 2003 -&amp;nbsp; about Thé au riz&amp;nbsp;&amp;amp;&amp;nbsp;Strong Enough&lt;/a&gt;&lt;/strong&gt;&lt;br /&gt;Thé au Riz, 2002 Video, 15’30 min., colour&lt;br /&gt;“You see stuff and, at the same time, hear other stuff. For example, you see a guy's butt in the street and you hear someone talking about his taxes. Totally unrelated”, ponders the voice-over in Thé au Riz. Pierre Yves Clouin juxtaposes a sound recording of an intimate conversation in bed with his lover with lengthy images of public spaces — a shopping mall, a café, a street in New York City.&lt;/p&gt;&#13;
&lt;p&gt;The conversation meanders along, as a wide view of a landscape filmed through an airplane window passes by. The altitude of the plane reduces rivers and mountains to mere cracks and crevices. All sense of proportion is lost. The scene changes, so does the conversation.&lt;/p&gt;&#13;
&lt;p&gt;- What do you mean, the bar that’s higher than you?&lt;/p&gt;&#13;
&lt;p&gt;- What?&lt;/p&gt;&#13;
&lt;p&gt;- You said: on the bar, which is higher than you.&lt;/p&gt;&#13;
&lt;p&gt;- Oh yeah, when you’re sitting on the bed here the bar over there is higher than me.&lt;/p&gt;&#13;
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&lt;p class="p1"&gt;&lt;span class="s2"&gt;and screened&amp;nbsp;March 15-17, at&amp;nbsp;&lt;em&gt;Th&amp;eacute;atre de Li&amp;egrave;ge&lt;/em&gt;, Belgium&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="p1"&gt;&lt;span class="s2"&gt;and silmutaneously presented at&amp;nbsp;&lt;/span&gt;&lt;span class="s3"&gt;&lt;em&gt;Le Man&amp;egrave;ge, Sc&amp;egrave;ne Nationale,&lt;/em&gt; Maubeuge, France,&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="p2"&gt;&lt;span class="s2"&gt;&lt;em&gt;Le Casino Luxembourg&lt;/em&gt;,&amp;nbsp;&lt;em&gt;Forum d&amp;rsquo;art contemporain&lt;/em&gt;, Luxembourg,&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="p2"&gt;&lt;span class="s2"&gt;CEZAM, &lt;em&gt;Centar za multimedijalnu produkcuju,&lt;/em&gt; Podgorica, Montenegro&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="p2"&gt;&lt;span class="s2"&gt;&lt;em&gt;La Nuova Pesa,&lt;/em&gt;&amp;nbsp;&lt;em&gt;Centro Arte Contemporanea a Roma,&amp;nbsp;&lt;/em&gt;&lt;/span&gt;&lt;span class="s2"&gt;Rome, Italy,&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="p3"&gt;&lt;span class="s1"&gt;Cinema Zuid, Antwerp,&amp;nbsp;Belgium&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p class="p3"&gt;and on RTBF and RTC&lt;/p&gt;</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="62858">
                <text>2018-03-15/16</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="46">
            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="62859">
                <text>&lt;span class="s1"&gt;&lt;a href="http://pierreyvesclouin.fr/items/show/687"&gt;Shooting Star&lt;/a&gt;&lt;/span&gt;&lt;span class="s2"&gt;&amp;nbsp;&lt;/span&gt;</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
            <elementTextContainer>
              <elementText elementTextId="62860">
                <text>Liège, Belgium&#13;
Maubeuge, France&#13;
Luxembourg&#13;
Podgorica, Montenegro&#13;
Rome, Italy&#13;
Antwerp, Belgium&#13;
</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
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  </item>
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