4 20 831 https://pierreyvesclouin.fr/files/original/5f85eaeb5ee0ed601d80ac3e5448fd62.mov 0c8f805a1508470755433769a32ea36c Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 381628 Codec H.264 Duration 431 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:07:14 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Lunch Description An account of the resource <a href="https://drive.google.com/file/d/1prp4CGJkxQYYJbuTIuxRh22mP6tcgKrl/view?usp=sharing" title="Lunch"><img title="Lunch" src="https://pierreyvesclouin.fr/files/original/c78fa40d5ea30ea313c45a08016382d9.jpeg" alt="" width="400px" /></a> <a href="https://drive.google.com/file/d/1prp4CGJkxQYYJbuTIuxRh22mP6tcgKrl/view?usp=sharing">Click here or on the photo to see the film</a> you can see the movie at the bottom of the page exhibitions and screenings of "Lunch": 2008 <ul> <li><a title="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008" href="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008">Heure Exquise Collection at the Austin GLIFF</a>, Austin, Texas, USA</li> </ul> 2003 <ul> <li><a href="https://pierreyvesclouin.fr/items/show/1394">Vinokino</a>, Turku, Finland, </li> <li><a title="http://ftvdb.bfi.org.uk/sift/individual/759268?view=credit" href="http://ftvdb.bfi.org.uk/sift/individual/759268?view=credit">London Lesbian and Gay film Festival</a>, LBFI, London, UK</li> </ul> <a href="https://pierreyvesclouin.fr/items/show/647">Shadow on the Wall: Short Film Review 2003 THERE about There, Model, Lunch. Selected short films shown at the British Film Institute's 17th London Lesbian & Gay Film Festival 2-16 April 2003 by Rich Cline</a> LUNCH dir-scr Pierre Yves Clouin • 02/Fr 7m * 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 Date A point or period of time associated with an event in the lifecycle of the resource 2002-07-01 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris man men muscles Paris https://pierreyvesclouin.fr/files/original/61ab33ff7450622c20c29e0d3adde173.mov 1a6b2bfa3d5c4d56e1b5d630bc1a3a33 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 466686 Codec H.264 Duration 362 Height 288 Width 352 https://pierreyvesclouin.fr/files/original/2aad175d65d974358e3fc9ec35d76c71.pdf 73c1d38bd5c77a215543b3ff90d35cf7 https://pierreyvesclouin.fr/files/original/139d6af1a3f98f220a26439fd675fbf3.JPG 40a133cf0ee7758049372181fbada5ee Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:06:03 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource We Cannot Exhibit It Description An account of the resource <iframe width="420" height="315" src="//www.youtube.com/embed/hzkHGsCMBsg" frameborder="0"></iframe> <div class="style_SkipStroke flowDefining"> <div class="text-content style_External_419_175"> <div class="style"> « Soon after I heard a general shout, with frequent repetitions of words ‘Peplom Selan’, and I felt numbers of people on my left side relaxing the cords to such a degree, that I was able to turn upon my right, and to ase myself with making water ; which I very plentifully did, to the great astonishment of the people... » Gulliver’s Travels, Jonathan Swift. « Peu après j’ai entendu un cri général, mèlé de fréquentes répétitions des mots ‘Peplom Selan’, et j’ai senti sur mon côté gauche un grand nombre de gens qui relâchaient les cordes à tel point que je pus me retourner sur mon côté droit et me soulager ainsi la vessie ; ce que je fis abondamment, au grand étonnement de ces gens... » Les voyages de Gulliver, Jonathan Swift. Certificate of Merit, Chicago International Film Festival 2002, Experimental Shorts Competition, Chicago, Illinois, USA exhibitions and screenings of "We Cannot Exhibit It": </div> </div> </div> <div id="id2" class="style_SkipStroke_2"> <div class="text-content graphic_textbox_layout_style_default_External_693_236"> <div class="graphic_textbox_layout_style_default"> 2010 <ul> <li><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self">“Extraordinary Men” </a>program curated by Stefan St Laurent,<a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf"> Art Star video Biennal</a>, Galerie Saw Gallery, Ottawa, On, Canada</li> </ul> 2005 <ul> <li>San Francisco Cinematheque presents <a class="style_2" title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">"We Cannot exhibit It: The Videos of Pierre Yves Clouin"</a>, Yerba Buena Center for the Arts, San Francisco, USA</li> </ul> 2004 <ul> <li><a title="Nashville Film Festival" href="http://pierreyvesclouin.fr/items/show/258" target="_self">Nashville Film Festival</a>, Nashville, Tennesee, USA</li> <li><a title="Athens 04" href="http://pierreyvesclouin.fr/items/show/575" target="_self">Athens International Film and Video Festival</a>, Athens, Ohio, USA</li> </ul> 2003 <ul> <li><a title="Mix NYC 17" href="http://pierreyvesclouin.fr/items/show/252" target="_self">MIX NYC 17</a>, Anthology Film Archives, NYC, New York, USA</li> <li><a title="cinematexas 03" href="http://pierreyvesclouin.fr/items/show/250" target="_self">Cinematexas 03</a>, Austin, Texas, USA</li> <li>IFP Los Angeles Film Festival, Los Angeles, CA, USA</li> <li>“Phenomenes de croissance” Musée d’art Moderne Lille Metropole, Lille, France</li> </ul> 2002 <ul> <li><a title="Chicago International film festival" href="http://pierreyvesclouin.fr/items/show/231" target="_self">38th Chicago International Film Festival</a>, Chicago, IL, USA</li> </ul> <a href="https://pierreyvesclouin.fr/items/show/12">Extra Ordinary Men</a> Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.  Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin. Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières  œuvres, Clouin explore cet espace précaire où cohabitent public et privé.  Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.  Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.» Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.  J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.» Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur. Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.  La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante. Stefan St-Laurent, commissaire Traduit de l’anglais par Colette Tougas Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (visité le 20 octobre 2010).(Notre traduction.</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</li> </ol>  Artiste multidisciplinaire et commissaire, Stefan St-Laurent est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa. <a href="https://pierreyvesclouin.fr/items/show/12">Extra Ordinary Men </a> Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could. Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with. In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit. I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime. Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.» A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work. I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2 Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur. Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light. This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.  - Stefan St-Laurent, Curator Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate, August 7, 1984.</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976), « in Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (accessed October 20, 2010)</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, April 2005.</li> </ol>  Stefan St-Laurent, a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front  in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and  Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa. </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2002-05-21 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris men muscles https://pierreyvesclouin.fr/files/original/7ac033c0e41615153b813547599189ed.mov 2a501146f35c87ebf606320e553ccfb2 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 192821 Codec H.264 Duration 264 Height 240 Width 320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:04:24 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Perfect Day Description An account of the resource <img title="A perfect day" src="https://pierreyvesclouin.fr/files/original/50aa7b56d7453841bb3b48df9eb93531.jpeg" alt="" width="400px" /> <div class="style_SkipStroke flowDefining"> <div class="text-content style_External_320_52"> <div class="style"> you can see the movie at the bottom of the page You’re going to reap just what you sow Tu récolteras ce que tu sèmes </div> <div class="tinyText">exhibitions and screenings of "A Perfect Day":</div> </div> </div> <div id="id2" class="style_SkipStroke_2"> <div class="text-content graphic_textbox_layout_style_default_External_686_228"> <div class="graphic_textbox_layout_style_default"> 2003 <ul> <li>Inside Out, Toronto, Canada</li> <li>Thaw03, Festival of Film, Video and Digital Media,University of Iowa's Institute for Cinema & Culture in Iowa City, Iowa,USA</li> </ul> 2002 <ul> <li>Cinematexas International Short Film Festival, Austin, Texas, USA </li> <li>“From Mix with Love,” Galapagos Art and Perfomance Space, Brooklyn, New York, USA</li> </ul> </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2002-04-12 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant London bathtub London https://pierreyvesclouin.fr/files/original/e97d499509cfe51f4a936c8738d967fe.mov 1f1d37fe2e61b7e89718d58cf5c9f026 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 351370 Codec H.264 Duration 181 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:03:00 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Le château Description An account of the resource <img title="Le chateau" src="https://pierreyvesclouin.fr/files/original/988bf03cef680eb018eb765da2f96c8a.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page « Forgive me, gentlemen,I’m sorry to tell you that I have no time to see you at present. I do apologize, but I have to go out on urgent business and must leave the building at once. You have seen for yourselves how long I have been held up by my last caller. » The Trial, Franz Kafka « Excusez-moi, Messieurs, je le regrette beaucoup, je n’ai pas le temps de vous recevoir en ce moment. Je vous en demande pardon, mais j’ai à règler en ville des affaires de la dernière urgence et je suis obligé de partir sur le champ. Vous avez vu vous-mêmes combien je viens d’être pris.» Le Procès, F.Kafka <div class="style_SkipStroke flowDefining"> <div class="text-content style_External_318_153"> <div class="style"> exhibitions and screenings of "Le château": </div> </div> </div> <div id="id2" class="style_SkipStroke_2"> <div class="text-content graphic_textbox_layout_style_default_External_702_152"> <div class="graphic_textbox_layout_style_default"> 2005 . San Francisco Cinematheque presents <a class="style_4" title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">"We Cannot exhibit It: The Videos of Pierre Yves Clouin"</a>, Yerba Buena Center for the Arts, San Francisco, USA 2004 . ARTRONICA Muestra Internacional de Artes Electrónicas in Bogota, Colombia 2002 . MIX NYC, Anthology Film Archives NYC, New York, USA </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2002-07-23 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris cruising Paris https://pierreyvesclouin.fr/files/original/6c76a40fb50d8bf426ce5fff2fa8e6d5.mov 84826b84b4e3c64d1a250b3b54e84890 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 198624 Codec H.264 Duration 919 Height 240 Width 320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:15:19 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thé au riz Description An account of the resource <a href="https://dai.ly/k1nGJpJ7rdh7mgzRlHU"><img title="théauriz" src="https://pierreyvesclouin.fr/files/original/0cb5a73403f0499dcf3535c765903efa.jpeg" alt="" width="400px" /></a> <div class="style_SkipStroke flowDefining"> <div class="text-content style_External_320_63"> <div class="style"> <a href="https://dai.ly/k1nGJpJ7rdh7mgzRlHU">Click here or on the image to see the film</a> you can also see the movie at the bottom of the page You imagine yourself with a bar in the bed, or with the bed in the kitchen Tu t’imagines avec un comptoir dans le lit, ou un lit dans la cuisine </div> <div class="tinyText">exhibitions and screenings of "Thé au riz":</div> </div> </div> <div id="id2" class="style_SkipStroke_2"> <div class="text-content graphic_textbox_layout_style_default_External_679_178"> <div class="graphic_textbox_layout_style_default"> 2005 . San Francisco Cinematheque presents <a title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">"We Cannot exhibit It: The Videos of Pierre Yves Clouin,"</a> Yerba Buena Center for the Arts, San Francisco, USA 2003 . <a href="https://pierreyvesclouin.fr/items/show/247">World Wide Video Festival,</a> Amsterdam, The Netherlands 2002 . MIX NYC, Anthology Film Archives NYC, New York, USA <a href="https://pierreyvesclouin.fr/items/show/247">A text by program director Remco Vlaanderen - WorldWide Video Festival 2003 -  about Thé au riz & Strong Enough</a> Thé au Riz, 2002 Video, 15’30 min., colour “You see stuff and, at the same time, hear other stuff. For example, you see a guy's butt in the street and you hear someone talking about his taxes. Totally unrelated”, ponders the voice-over in Thé au Riz. Pierre Yves Clouin juxtaposes a sound recording of an intimate conversation in bed with his lover with lengthy images of public spaces — a shopping mall, a café, a street in New York City. The conversation meanders along, as a wide view of a landscape filmed through an airplane window passes by. The altitude of the plane reduces rivers and mountains to mere cracks and crevices. All sense of proportion is lost. The scene changes, so does the conversation. - What do you mean, the bar that’s higher than you? - What? - You said: on the bar, which is higher than you. - Oh yeah, when you’re sitting on the bed here the bar over there is higher than me. There doesn’t appear to be any sense of logic or direction in this conversation, nor do the changing scenes seem in any way related to each other. It appears to be just pillow talk accompanied by random images shot with a handycam. The man continues to speak in a soft voice about some friends, the places in Paris they visited, which route they took to get there, and where they had lunch. We see a kid wearing an Adidas jacket waiting for his dad who’s using a public phone in some mall while a voice-over discusses a female duck and her ducklings. Totally unrelated. When he asks his friend about the leftover pasta we see the image of someone reading a paper in an outdoor café. What remains however throughout the entire fifteen minutes of the video is the strong sense of intimacy. Clouin immerses you in a dream-like state where the apparent absence of logic is not questioned. Thé au Riz is a thought-provoking and challenging work that raises a number of questions about the blurring of the boundaries between public and private space, in particular about the relationship between the individual and the media, which are increasingly invading people’s private lives, just like we se </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2002-01-28 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris, Chicago, Los Angeles, Toronto Chicago Los Angeles Paris street Toronto https://pierreyvesclouin.fr/files/original/80980084f05a6dd31d146205bb231799.mov 6bef5af6257da9c21e5832f77b24389d Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 198525 Codec H.264 Duration 216 Height 240 Width 320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:03:36 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource mars train Date A point or period of time associated with an event in the lifecycle of the resource 2002-08-17 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Description An account of the resource <h6><img src="http://pierreyvesclouin.fr/files/original/b661a79f288b29dc0f0faf93728b329f.jpg" alt="" width="400px" /> you can see"Mars Train" at the bottom of the page</h6> spaceship train https://pierreyvesclouin.fr/files/original/e38579bcc83409638e617068c231bcc9.mov cdaa24e92d351fd264d2e954f5a5b1c3 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 634206 Codec H.264 Duration 365 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:06:14 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Le lieu du crime Description An account of the resource <img title="LeLieuducrime" src="https://pierreyvesclouin.fr/files/original/5c85ef9c8ed28feaa7000032c0c8063d.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page exhibitions and screenings of "Scene of the crime": 2002 . Thaw02, Festival of Film, Video and Digital Media, Institute for Cinema & Culture in Iowa City, Iowa,USA Date A point or period of time associated with an event in the lifecycle of the resource 2001-10-16 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage bicycle crime green https://pierreyvesclouin.fr/files/original/28be3172d78fee191032d5a2f5066d80.mov 934bdc093ad5714f83badb152ffe2bb9 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 185340 Codec H.264 Duration 97 Height 240 Width 320 https://pierreyvesclouin.fr/files/original/fc8a3b01c53dd291eee8287af798046d.JPG 0fdf380bd7b5d1c07185e030b819f1f1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:01:37 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Strong Enough Description An account of the resource <img title="Strongenough" src="https://pierreyvesclouin.fr/files/original/4f13973aa349a790aa5cdccd42fce6d6.jpeg" alt="" width="400px" /> <div class="style_SkipStroke flowDefining"> <div class="text-content style_External_320_52"> <div class="style"> you can see the movie at the bottom of the page I don’t need your sympathy... Pas besoin de votre sympathie... </div> <div class="tinyText">Best Musical and Audience Choice Awards, Thaw, Festival of Film Video and Digital Media, Institute for Cinema and Culture, Iowa City, USA, 2002</div> </div> </div> <div id="id2" class="style_SkipStroke_2"> <div class="text-content graphic_textbox_layout_style_default_External_677_319"> <div class="graphic_textbox_layout_style_default"> Television broadcast: "Vanavond" VPRO Television, Holland, 2003 exhibitions and screenings of "Strong Enough": 2010 <ul> <li><a title="Extraordinary Men" href="http://c-x-p.net/artStar4Biennial-Clouin.PDFhttp://pierreyvesclouin.fr/items/show/12" target="_self">“Extraordinary Men” </a>program curated by Stefan St Laurent,<a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf"> Art Star video Biennal</a>, Galerie Saw Gallery, Ottawa, On, Canada</li> </ul> 2005 <ul> <li>San Francisco Cinematheque presents <a title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">"We Cannot exhibit It: The Videos of Pierre Yves Clouin"</a>, Yerba Buena Center for the Arts, San Francisco, USA</li> </ul> 2004 <ul> <li><a title="magic lantern" href="https://pierreyvesclouin.fr/items/show/1298">“Animal Show,Part 2: Four legs vs. More Legs,”</a> curated by Ben Russel, Magic Lantern, Providence, Rhode Island</li> <li>“Transpédégouines is back”, <a href="https://pierreyvesclouin.fr/items/show/1330">Festival de Films Gays et Lesbiens de Paris</a>, Forum des Images, Paris, France</li> <li>“Happy revolution”, Museu de Arte Moderna Rio de Janeiro, Rio de Janeiro, Brazil</li> </ul> 2003 <ul> <li><a href="https://pierreyvesclouin.fr/items/show/247">World Wide Video Festival</a>, Amsterdam, The Netherlands</li> <li><a title="microwave" href="http://pierreyvesclouin.fr/items/show/254" target="_self">Microwave International Media Art Festival 03</a>, hong Kong, China</li> </ul> 2002 <ul> <li><a href="https://pierreyvesclouin.fr/items/show/218">Thaw02, Festival of Film</a>, Video and Digital Media, Institute for Cinema & Culture in Iowa City, Iowa,USA </li> <li> <a href="https://pierreyvesclouin.fr/items/show/1449">12th International Video Festival Bochum</a>, Bochum, Germany </li> <li>MIX NYC, Anthology Film Archives, NYC, New York, USA</li> <li>Onion City Experimental Film and Video Festival, Chicago Filmmakers, Chicago, IL,USA</li> <li>13th Hamburg International Lesbian & Gay Film Festival, Hamburg, Germany</li> <li>7th <a title="cinematexas 02" href="http://pierreyvesclouin.fr/items/show/227" target="_self">Cinematexas</a> International Short Film Festival, Austin ,Texas, USA</li> </ul> <a href="https://pierreyvesclouin.fr/items/show/12">Stefan St-Laurent: Extra Ordinary Men</a> Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.  Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin. Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières  œuvres, Clouin explore cet espace précaire où cohabitent public et privé. Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime. Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.» Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.  J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.» Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur. Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.  La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante. Stefan St-Laurent, commissaire Traduit de l’anglais par Colette Tougas Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (visité le 20 octobre 2010).(Notre traduction.</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</li> </ol>  Artiste multidisciplinaire et commissaire, Stefan St-Laurent est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa. <a href="https://pierreyvesclouin.fr/items/show/12">Stefan St-Laurent: Extra Ordinary Men </a> Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could. Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with. In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit. I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime. Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.» A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work. I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2 Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur. Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light. This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.  - Stefan St-Laurent, Curator Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate, August 7, 1984.</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976), « in Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (accessed October 20, 2010)</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, April 2005.</li> </ol> Stefan St-Laurent, a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front  in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and  Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa. <a href="https://pierreyvesclouin.fr/items/show/247">A text by program director Remco Vlaanderen - WorldWide Video Festival  2003-  about Thé au riz & Strong Enough</a> Strong Enough, 2001 Video, 1’5 min, colour “I don't need your sympathy There's nothing you can say or do for me…” Cher in Strong Enough Out of all the bug video’s that were sent in to the World Wide Video Festival this year Pierre Yves Clouin's Strong Enough made a lasting impression. The short clip only lasts one-and-a-half minute and is arguably the world’s shortest and sweetest musical ever made. The leading lady is a June Bug lying upside-down on its back, struggling in a desperate attempt to get back up on its feet again. It is remarkable how Clouin manages to transform such a simple everyday life scene into a larger-than-life event by effectively utilizing the essence of comedy: the careful orchestration of tension and relief. The viewer is parachuted into a top dramatic moment. You immediately identify and sympathize with the struggling bug. Then Clouin injects a bit of humour to relieve the heavy tension of this tragic event: the first two verses of Cher’s song Strong enough kick in. Relief. Cher is basically saying that you can be strong and rule your life and make the choices you want to make. Then Cher stops... We wait for the climax. But there is no climax, there is no turning point in the plot. Remco Vlaanderen <a href="https://pierreyvesclouin.fr/items/show/599">Anecdotal Evidence Ham and Eggs: On Experimental Film and Foreignness By Margaret Schwartz 17 July 2002</a>: This year’s Thaw had humor and style — something I can’t say about last year. My first prize for a video with intelligence, pathos, and wit goes to <a title="strong enough" href="https://pierreyvesclouin.fr/items/show/Strong%20Enough" target="_self">Strong Enough</a>, by Pierre Yves Clouin. The video consists of one full minute of a beetle of some sort, perhaps what Midwesterners call a June Bug, struggling to right itself. It is an accident of these creatures’ physiognomy that once flipped onto their large backs, it is very hard for them to get enough leverage with their tiny legs to flip back over. You’ve all seen it. But did you really look? <a title="strong enough" href="https://pierreyvesclouin.fr/items/show/Strong%20Enough" target="_self">Strong Enough</a> affords the pleasure of detail and the excitement of rediscovery: sitting silently in the dark with this enormous moving image as the only distraction, the audience was forced to observe tiny movements of the legs, to hope anxiously for a resolution which of course never comes. It wasn’t long before certain members of the audience started to laugh, because it’s funny, somehow, sitting there silently rooting for this bug. And, unlike many of the filmmakers who used their space for pompous intellectual explications of work that should have been self-explanatory, Clouin used his program blurb perfectly. He wrote: “I don’t need your sympathy.” Even without this suggestive comment, we would have laughed because the beetle clearly didn’t care if we were watching, wasn’t capable of playing it for the camera (God forbid). One could imagine a cartoon version of the same idea done on Sesame Street, but the real “face” of the beetle, which is to say its animal impassivity, lent its actions a certain dignity. It was fantastic: short, simple, and brilliant. </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2001-04-11 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant FR beetle Cher https://pierreyvesclouin.fr/files/original/ba5c36e68a0964eee1e197ac8814a98b.mov 810438238d85abfc5940cb0f8dd48ede Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 188866 Codec H.264 Duration 101 Height 240 Width 320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:01 :47 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Panda Man Description An account of the resource <img title="PandaMan" src="https://pierreyvesclouin.fr/files/original/c4979ef3ca7afd60a6bd8dcea3538c03.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page exhibitions and screenings of "Panda Man": 6th Unimove festival, Pescara, Italy Date A point or period of time associated with an event in the lifecycle of the resource 2001-06-05 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris Paris river https://pierreyvesclouin.fr/files/original/adb8718fab0cb467f56377cb628ec622.mov 6fcc34b6df412738067743e81c325cb8 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 298042 Codec H.264 Duration 265 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:04:25 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anti Social Elevator Description An account of the resource <img title="antisocialelevator" src="https://pierreyvesclouin.fr/files/original/e34f3b9fa0ec30671937bdb3cee65de3.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page the anti-social elevator isn’t stuck, it’s laughing <div> exhibitions and screenings of "Anti-Social Elevator": 2001 <ul> <li>. Images festival, Toronto, On, Canada</li> <li>. 13th Ankara International film Festival, Ankara, Turkey</li> </ul> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2001-04-06 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris elevator https://pierreyvesclouin.fr/files/original/4e658af9f944e0b6fa3e99a0000f7846.mov 1321f01379e4970d899b4d6e61406f9a Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 200133 Codec H.264 Duration 438 Height 240 Width 320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:07:18 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource My Hands Are Shaking Description An account of the resource <img title="my hands are shaking" src="http://pierreyvesclouin.fr/files/original/b50d23fe1e9226a1c2bbcda8f39c8b72.jpg" alt="" width="400px" /> You can see "My Hands Are shaking" at the bottom of the page exhibitions and screenings of "My Hands Are Shaking": 2008 <ul> <li><a title="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008" href="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008">Heure Exquise Collection</a> at the Austin GLIFF, Austin, Texas, USA</li> <li><a title="http://virtualgallery.birzeit.edu/exhibitions_news_and_events?news_id=338503" href="http://virtualgallery.birzeit.edu/exhibitions_news_and_events?news_id=338503">“Let It Be”, curated by Akram Zaatari</a>, Home Works IV: A Forum on Cultural Practices, Beirut, Lebanon</li> </ul> 2002 <ul> <li>“Tunnel of love” curated by Maïa Cybelle Carpenter, San Francisco, California, USA</li> </ul> 2001 <ul> <li>MIX NYC, Anthology Film Archives NYC, New York, USA</li> </ul> <a href="https://pierreyvesclouin.fr/items/show/685">Akram Zaatari: The thougt of sex.The problematic presentation of Let it Be in Beirut</a> "... All the works that were labelled "problematic" were screened in the office of the architecte Bernard Khoury in Karantina, where the space was transformed into a theatre with two hundred seats for one evening. Those works included Naufus Figueroa's Masturbation in the Fatherland, Pierre Yves Clouin's<a title=""My Hands are shaking" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/78" target="_self"> My Hands Are Shaking</a>, Jean Gabriel Periot's Lovers and Laetitia Bourget's 7121 images du sexe d'un autre. Akram Zaatari The thougt of sex.The problematic presentation of Let it Be in BeirutQueer Geographies Beirut-Tijuana-Copenhagen 2009, p30 <h6> </h6> Date A point or period of time associated with an event in the lifecycle of the resource 2001-05-21 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris sex song studio telephone https://pierreyvesclouin.fr/files/original/5aca7bb241db9882795aa304775f3f47.mov f94c88f4125dc506639db11f83826805 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 196644 Codec H.264 Duration 202 Height 240 Width 320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:03:22 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Model Description An account of the resource <img title="model" src="http://pierreyvesclouin.fr/files/original/cf305fa4fe6d8f25ee9bcc9a653c9ae4.jpg" alt="" width="400px" /> <h6>You can see Model at the bottom of the page</h6> exhibitions and screenings of "Model": 2010 <ul> <li><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self">“Extraordinary Men” </a>program curated by Stefan St Laurent,<a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf"> Art Star video Biennal,</a> Galerie Saw Gallery, Ottawa, On, Canada</li> </ul> 2008 <ul> <li><a title="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008" href="http://agliff.bside.com/2008/films/theheureexquisecollection_agliff2008">Heure Exquise Collection</a> at the Austin GLIFF, Austin, Texas, USA</li> </ul> 2003 <ul> <li><a title="http://ftvdb.bfi.org.uk/sift/individual/759268?view=credit" href="http://ftvdb.bfi.org.uk/sift/individual/759268?view=credit">London Lesbian & Gay film Festival, BFI</a>, London, UK </li> </ul> 2002 <ul> <li>8th Philadelphia International Gay and Lesbian Festival, Philadelphia, USA</li> <li>Outfest 2002, Los Angeles, USA</li> </ul> 2001 <ul> <li>MIX NYC, Anthology Film Archives NYC, New York, USA</li> </ul> <a href="https://pierreyvesclouin.fr/items/show/12">Stefan St-Laurent: Extra Ordinary Men</a> Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.  Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin. Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières  œuvres, Clouin explore cet espace précaire où cohabitent public et privé. Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime. Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1. Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.  J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.» Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur. Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.  La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante. Stefan St-Laurent, commissaire Traduit de l’anglais par Colette Tougas Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (visité le 20 octobre 2010).(Notre traduction.</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</li> </ol>  Artiste multidisciplinaire et commissaire, Stefan St-Laurent est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa. <a href="https://pierreyvesclouin.fr/items/show/12">Stefan St-Laurent: Extra Ordinary Men </a> Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could. Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with. In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit. I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime. Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.» A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work. I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2 Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur. Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light. This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.  - Stefan St-Laurent, Curator Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate, August 7, 1984.</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976), « in Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (accessed October 20, 2010)</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, April 2005.</li> </ol> Stefan St-Laurent, a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front  in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and  Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa. <a href="https://pierreyvesclouin.fr/items/show/647">Shadow on the Wall: Short Film Review 2003 THERE about There, Model, Lunch. Selected short films shown at the British Film Institute's 17th London Lesbian & Gay Film Festival 2-16 April 2003 by Rich Cline</a> MODEL dir-scr Pierre Yves Clouin • 01/Fr 3m ** 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   Date A point or period of time associated with an event in the lifecycle of the resource 2001-04-25 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris cruising Paris street https://pierreyvesclouin.fr/files/original/9ee87556a233a7584537b62bb1ad6601.mov 35d6e650649bffd32211030baa5f0215 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 773751 Codec H.264 Duration 108 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:02:00 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tutu et chapeau pointu Description An account of the resource <img title="TUTU" src="https://pierreyvesclouin.fr/files/original/a5d51a85780e30ccbbf33debe09d2164.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page exhibitions and screenings of "Tutu et châpeau pointu": 2001 . galerie eof, Paris, France 2002 . 6th Unimovie, Pescara, Italy Date A point or period of time associated with an event in the lifecycle of the resource 2001-10-12 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Chicago Chicago People street https://pierreyvesclouin.fr/files/original/edeb1f291a28244a374dc1960067a441.mov 06e3d0e3d8a5a994e90e2b0f945da542 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 709334 Codec H.264 Duration 75 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:01:16 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Built to Survive Description An account of the resource <img title="Builttosurvive" src="https://pierreyvesclouin.fr/files/original/3459d34a6a6b51bc65b3985fd8e5fbfc.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page exhibitions and screenings of "Built to Survive": 2006 <ul> <li>Philadelphia International Gay and Lebian Festival, Philadelphia, USA</li> </ul> 2005 <ul> <li>San Francisco Cinematheque presents <a title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">"We Cannot exhibit It: The Videos of Pierre Yves Clouin"</a>, Yerba Buena Center for the Arts, San Francisco, USA</li> </ul> 2002 <ul> <li>8th Philadelphia International Gay and Lebian Festival, Philadelphia, USA</li> <li>15th Internationaler Bochumer Video Festival</li> </ul> 2001 <ul> <li>Festival International du Cinéma Francophone en Acadie, Moncton, NB, Canada</li> <li>Onion City Film and Video Festival, Chicago Filmmakers, chicago, Il, USA</li> <li>13th Ankara International film Festival, Ankara, Turkey</li> </ul> Date A point or period of time associated with an event in the lifecycle of the resource 2001-07-13 Rights Information about rights held in and over the resource © Pierre Yves Clouin 2001 Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Los Angeles Los Angeles reflection https://pierreyvesclouin.fr/files/original/671360fe2c2b30af0f7ab3cf460d4361.mov 860015cfe736204fe61b2dae7d111013 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 478661 Codec H.264 Duration 143 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:02:23 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource There Description An account of the resource <img title="there" src="https://pierreyvesclouin.fr/files/original/4d68bfd4bbc395c23f2beebf672857ec.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page exhibitions and screenings of "There":  2005  <ul> <li>San Francisco Cinematheque presents <a class="style_3" title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">"We Cannot exhibit It: The Videos of Pierre Yves Clouin"</a>, Yerba Buena Center for the Arts, San Francisco, USA</li> </ul> 2003 <ul> <li><a class="style_3" title="http://ftvdb.bfi.org.uk/sift/individual/759268?view=credit" href="http://ftvdb.bfi.org.uk/sift/individual/759268?view=credit">London LGBT film Festival, BFI</a>, London, UK</li> </ul> 2002 <ul> <li>6th Unimovie, Pescara, Italy</li> <li>2nd Annual Flaming Film Festival presented by Intermedia Arts in Minneapolis, Minnesota, USA</li> </ul> <a href="https://pierreyvesclouin.fr/items/show/647">Shadow on the Wall: Short Film Review 2003 THERE about There, Model, Lunch. Selected short films shown at the British Film Institute's 17th London Lesbian & Gay Film Festival 2-16 April 2003 by Rich Cline</a> THERE dir-scr Pierre Yves Clouin • 02/US 3m *** 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 Date A point or period of time associated with an event in the lifecycle of the resource 2001-05-08 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Utrecht bicycle People Utrecht https://pierreyvesclouin.fr/files/original/720d708a0a459b874671941b35b37f71.mov 070e043aba019d3617ad50401970caeb Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 481333 Codec H.264 Duration 110 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:01:50 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Final Touch Description An account of the resource <a href="https://drive.google.com/file/d/1RUTtGceGHKspxvdNEhIv4Obm1lndvlb7/view?usp=sharing"><img title="The Final Touch" src="http://pierreyvesclouin.fr/files/original/8097ce7a986b7e63ccfed19aa0d1da1d.jpg" alt="" width="400px" /></a> <h6 class="paragraph_style"><a href="https://drive.google.com/file/d/1RUTtGceGHKspxvdNEhIv4Obm1lndvlb7/view?usp=sharing">Click here or on the photo to see the film</a> or you can see "The Final Touch" at the bottom of the page</h6> All this and a throne, too exhibitions and screenings of "The Final Touch": 2005 . San Francisco Cinematheque presents <a title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">"We Cannot exhibit It: The Videos of Pierre Yves Clouin"</a>, Yerba Buena Center for the Arts, San Francisco, USA 2000 . Reeling 2000, The Chicago Lesbian & Gay International Film Festival, Chicago, Illinois, USA <a title="The final Touch" href="http://pierreyvesclouin.fr/items/show/83" target="_self">THE FINAL TOUCH</a> dir Pierre Yves Clouin • 01/France 2m <img src="http://www.shadowsonthewall.co.uk/sastar1.gif" alt="1 out of 5 stars" /> There's only ambient sound--and very little of that even--in this single shot in which a camera roams around a wall and then stops at a small mirror in which we can see the back of a man who's wearing only a T-shirt. Eventually we realise he's wanking. Absurd and pointless. 16.Apr.02 llgff <a href="https://pierreyvesclouin.fr/items/show/650">Selected documentary shorts from the British Film Institute's 16th London Lesbian & Gay Film Festival 3-17 April 2002.</a> <a href="https://pierreyvesclouin.fr/items/show/650">Reviews by Rich Cline</a>     Date A point or period of time associated with an event in the lifecycle of the resource 2000-05-11 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Utrecht butt Utrecht https://pierreyvesclouin.fr/files/original/96e156f3d33c42c066c6cd13c88e797b.mov 2a00eb2004c151b7966092c2985db301 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 627115 Codec H.264 Duration 657 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:11:00 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Point P Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/cb5c9cb92527e163cc7712dafa9cab51.jpg" alt="" width="400px" /> <h6 class="paragraph_style_1">You can see "Point P" at the bottom of the page exhibitions and screenings of "Point P": </h6> 2008 <a title="http://virtualgallery.birzeit.edu/exhibitions_news_and_events?news_id=338503" href="http://virtualgallery.birzeit.edu/exhibitions_news_and_events?news_id=338503">. “Let It Be”,</a> curated by Akram Zaatari, Home Works IV: A Forum on Cultural Practices, Beirut, Lebanon Date A point or period of time associated with an event in the lifecycle of the resource 2000-03-25 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris cruising Paris sex https://pierreyvesclouin.fr/files/original/b1d7ab8ff24d729f91727214766b5b35.mov 3e55c926e63f382d3bb83ea0243df3fb Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 358857 Codec H.264 Duration 226 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:03:40 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Flying Sculpture Description An account of the resource <iframe width="560" height="315" src="//www.youtube.com/embed/npskZwSKJsY?list=UUa0g_jwX10frPlDVyNQLDxA" frameborder="0"></iframe> <div class="style_SkipStroke flowDefining"> <div class="text-content style_External_299_36"> <div class="style"> Programming Pause </div> <div class="tinyText">exhibitions and screenings of "Flying Sculpture":</div> </div> </div> <div id="id2" class="style_SkipStroke_2"> <div class="text-content graphic_textbox_layout_style_default_External_696_234"> <div class="graphic_textbox_layout_style_default"> 2010 <ul> <li><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self">“Extraordinary Men” </a>program curated by Stefan St Laurent, <a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf">Art Star video Biennal</a>, Galerie Saw Gallery, Ottawa, On, Canada</li> </ul> 2005 <ul> <li>San Francisco Cinematheque presents "<a title="http://www.sfcinematheque.org/#/archive/200504070/" href="http://www.sfcinematheque.org/#/archive/200504070/">We Cannot exhibit It: The Videos of Pierre Yves Clouin</a>", Yerba Buena Center for the Arts, San Francisco, USA</li> <li><a title="http://www.sfcinematheque.org/#/archive/200503060/" href="http://www.sfcinematheque.org/#/archive/200503060/">“A Sense of Site: from Calcutta to Afganistan”</a> curated by Irina Leimbacher, San Francisco Cinematheque, San Francisco, CA, USA </li> </ul> 2002 <ul> <li><a title="stuttgarter filwinter 2002" href="http://pierreyvesclouin.fr/items/show/214" target="_self">Stuttgarter Filmwinter</a>, Stuttgart, Germany</li> <li>MIX Festival Highlights in Toronto, at the Images Film Festival, Pleasure Dome, Toronto, Canada</li> </ul> 2001 <ul> <li><a title="http://www.image-mouvement.ch/bim/02progE/bim/bim9/competition_e.html" href="http://www.image-mouvement.ch/bim/02progE/bim/bim9/competition_e.html">9th Biennal of Moving Images, Center for Contemporary Images, Geneva, Switzeland</a></li> <li><a href="https://pierreyvesclouin.fr/items/show/201">Festival International du Cinéma Francophone en Acadie</a>, Moncton, NB, Canada</li> <li>13th Ankara International film Festiva, Ankara, Turkey</li> <li>MIX NYC, Anthology Film Archives NYC, New York, USA</li> <li>“circles and squares”, NYC, New York, USA</li> <li><a href="https://pierreyvesclouin.fr/items/show/1414">5th UNIMOVIE</a> University Video and Shortfilm Festival, Pescara, Italy </li> </ul> </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2000-09-07 Rights Information about rights held in and over the resource © Pierre Yves Clouin 2000 Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Los Angeles flight Los Angeles toilet https://pierreyvesclouin.fr/files/original/64d00b710499fecd7ae6dff065537cfb.mov 11da71c57ee5a0a1cab873b6eada0aac Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 1300282 Codec H.264 Duration 81 Height 288 Width 352 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:01:21 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shadow Box Description An account of the resource <img title="Shadow box" src="https://pierreyvesclouin.fr/files/original/b4467b3b3353e3150cf496dcf450b809.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page The Father’s place La place du père <div> exhibitions and screenings of "Shadow Box":  2006 <ul> <li>Philadelphia International Gay and Lesbian Festival, Philadelphia, USA</li> </ul> 2003 <ul> <li>Mardi Gras film Festival, Sydney, Australia</li> </ul> 2002 <ul> <li><a href="https://pierreyvesclouin.fr/items/show/1392">8th Philadelphia International Gay and Lebian Festival</a>, Philadelphia, USA</li> <li><a title="sf lgbt 02" href="http://pierreyvesclouin.fr/items/show/222" target="_self">26th San Francisco International Lesbian and Gay Film Festival</a>, San Francisco, CA, USA</li> <li>2nd Annual Flaming Film Festival presented by Intermedia Arts in Minneapolis, Minnesota, USA</li> <li><a title="http://www.nytimes.com/2002/04/05/arts/art-review-cinema-a-la-warhol-with-cowboys-stillness-and-glamour.html?pagewanted=4&src=pm" href="http://www.nytimes.com/2002/04/05/arts/art-review-cinema-a-la-warhol-with-cowboys-stillness-and-glamour.html?pagewanted=4&src=pm">NAP Biennal Video Festival</a>:MCS Gallery, Arts Resource Center, Easton, PA, Delaware Center for Contemporary Arts, Wilmington, DE, Hunterdown Museum of Art, Clinton, NJ, Allentown Art Museum, Allentown, PA, Philadelphia Art Alliance, Philadelphia, PA,<a title="http://www.nytimes.com/2002/04/05/arts/art-review-cinema-a-la-warhol-with-cowboys-stillness-and-glamour.html?pagewanted=4&src=pm" href="http://www.nytimes.com/2002/04/05/arts/art-review-cinema-a-la-warhol-with-cowboys-stillness-and-glamour.html?pagewanted=4&src=pm"> Paula Cooper Gallery</a>, New York City, NY, Marywood University Art Galleries, Scranton, PA, Zoellner Arts Center, Lehigh University Art Galleries, Bethlehem, PA, USA</li> </ul> 2001 <ul> <li><a href="https://pierreyvesclouin.fr/items/show/191">Pandæmonium Bienniale of Moving Images</a>,London's Lux Center of Film, Video and Digital Arts, London, UK </li> <li>Festival des cinemas différents, La clef, Paris, France </li> <li>13th Ankara International film Festival, Ankara, Turkey</li> <li>MIX NYC, Anthology Film Archives NYC, New York, USA</li> <li><a title="thaw 01" href="http://pierreyvesclouin.fr/items/show/194" target="_self">Thaw 01 Festival of Film, Video and Digital Media</a>,Institute for Cinema and Culture, University of Iowa, Iowa City, Iowa, USA</li> </ul> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2000-04-22 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris cemetery father Paris https://pierreyvesclouin.fr/files/original/09365c2f61cad444dc447258f5d23491.mov 64be3115ecb152fccd45c423a8e9ed81 Omeka Video File The metadata element set that was included in the `files_videos` table in previous versions of Omeka. These elements are common to all video files. Bitrate 190509 Codec H.264 Duration 71 Height 240 Width 320 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data dv Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:01:12 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Insert Description An account of the resource <img title="Inset" src="https://pierreyvesclouin.fr/files/original/9f99f528d4aa64ae44f2fc27b7b909c0.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page exhibitions and screenings of "Insert":  2010 <ul> <li><a title="Extraordinary Men" href="http://pierreyvesclouin.fr/items/show/12" target="_self">“Extraordinary Men”</a> program curated by Stefan St Laurent, <a title="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf" href="http://www.galeriesawgallery.com/admin/uploads/files/Art_Star_4.pdf">Art Star video Biennal</a>, Galerie Saw Gallery, Ottawa, On, Canada</li> </ul> 2002 <ul> <li>Glazart, Paris, France</li> </ul> 2001 <ul> <li>Videobrazil Electronic Art International Festival, Sao Paulo, Brazil</li> </ul> 2000 <ul> <li>Forcement Contemporain, Clermont-Ferrand, France.</li> <li>Vidéoformes 2000, 15ème Festival International d'Arts Vidéo et Multimédia, Clermont-Ferrand, France</li> </ul> <a href="https://pierreyvesclouin.fr/items/show/12">Extra Ordinary Men</a> Pierre Yves Clouin est un vidéaste excentrique et curieux, et probablement le premier vidéaste avec lequel j’ai travaillé, autour de 1995. Je l’ai rencontré pour la première fois en personne à Paris, sa ville, il y a une dizaine d’années, alors que j’effectuais des recherches à titre de commissaire; il m’a montré un aspect de la ville que peu de jeunes commissaires ont la chance de voir et d’expérimenter. J’y ai été confronté à plein de nouvelles idées et je me suis posé des questions sur mon compte. Son travail m’a éclairé comme je n’avais jamais imaginé que des videos lo-fi, à petit budget, pouvaient le faire.  Clouin vivait en périphérie de Paris dans une cité conçue par Le Corbusier et habitée par des artistes. Nous nous y sommes rendus à pied; c’était assez loin, à partir du Marais jusqu’à la Seine du côté de la bibliothèque Mitterrand, et nous nous sommes arrêtés dans une zone de drague gaie tellement extravagante que Paris a commencé à me sembler irréelle, comme dans un film. Si vous demandiez à des cinéastes hétéros d’essayer d’imaginer à quoi ressemblerait une scène de drague gaie, probablement qu’ils en arriveraient exactement à ce que j’ai vu. Cette réalité était exagérée: j’ai compris sur le champ que je me trouvais, en fait dans cet espace extrêmement chargé et sexualisé qui, depuis toujours, fascine Clouin. Nous avons traversé un passage souterrain qui est vite devenu très sombre, même si nous étions au beau milieu du jour. On pouvait voir des figures en mouvement, des silhouettes qui se profilaient devant la petite entrée à l’autre bout d’où émanait un peu de lumière. Je lui ai dit que j’avais peur, et il a ri. En connaissance de cause, il m’a dit: « Attends de voir l’autre côté.» Là, des hommes, soi-disant vêtus comme des ouvriers de la construction, étaient assis à califourchon sur des machines gigantesques, les scrotums sortant de leurs jeans par des échancrures comme de la cire fondue, et ils s’adonnaient frénétiquement à des activités sexuelles orales et anales. Dans plusieurs de ses dernières  œuvres, Clouin explore cet espace précaire où cohabitent public et privé.  Je me suis confronté à une pruderie à l’intérieur de moi même dont j’ignorais l’existence. Pendant des années, j’avais pensé m’être affranchi tout simplement en proclamant «je suis gai »; je ne savais pas alors à quel point la vision que j’avais de ma propre sexualité était expurgée et passait par un filtre hétérosexuel et culturel. L’actrice rebelle Marlène Dietrich affirmait : «Le sexe. En amérique, une obsession. Dans d’autres parties du monde, un fait.» On ne peut s’empêcher de penser qu’elle évoquait Paris, où elle a passé les dernières années de sa vie. Empreinte de sexualité et d’humour, l’œuvre de Clouin nous montre une facette de la vie gaie qui, sans être nécessairement flatteuse est touchante et qui, tout en étant crue, est spectaculairement sublime.  Examiner la teneur philosophique des travaux de Clouin sans renvoyer à Michel Foucault équivaudrait à occulter le cœur même de sa pratique. Le corpus de ses vidéos est constitué de moments vécus ou documents intimes d’un être en relation avec d’autres, captés par le petit œil de sa caméra portable. En 1982, Foucault aurait pu parler du travail de Clouin lorsqu’il déclarait en entrevue: « La sexualité fait partie de nos comportements. elle fait partie de notre liberté mondiale. La sexualité est quelque chose que nous inventons nous-mêmes. Elle est notre propre création, et elle est beaucoup plus que la découverte d’une face cachée de notre désir. Nous devons comprendre que nos désirs s’accompagnent de nouvelles formes de relation, de nouvelles formes d’amour, de nouvelles formes de création. Le sexe n’est pas une fatalité; c’est un potentiel de vie crétive. Il ne suffit pas d’affirmer que nous sommes gais; nous devons également créer une existence gaie1.» Ethnographie homosexuelle destinée à la consommation populaire, l’œuvre vidéo de Clouin révèle la matière extraordinaire dont est faite la culture gaie contemporaine. Le jeu qui consiste à montrer et à cacher est très significatif, et il me rappelle le paradoxe de la vie gaie: vouloir la visibilité et la liberté, tout en cherchant l’invisibilité par peur de la violence et de l’humiliation. Bien que le voyeur, en général, n’entre pas en contact ou n‘échange pas directement avec le sujet de son observation, plusieurs critiques et programmeurs réfèrent souvent au côté voyeur du travail de Clouin.  J’établirais plutôt des parallèles avec la photographie secrète, apparue à la fin du XIXe siècle avec l’avènement de l’appareil photo d’espion et depuis popularisée grâce à la miniaturisation des dispositifs d’enregistrement d’images. Et bien que la France ait maintenant adopté des lois très strictes interdisant la publication de toute photographie sans le consentement exprès du sujet, Clouin accepte l’illégalité de ce qu’il produit et accomplit dans la sphère publique. Bien sûr, sa démarche n’est pas nouvelle et elle nous rappelle la technique de Paul Strand : « Strand partait pour le district Five Points, le cœur des taudis d’immigrants dans le Lower East Side, avec son appareil photo équipé d’un faux objectif pour détourner l’attention. Strand s’approchait d’un sujet potentiel, faisait un tour de 90 degrés sur lui-même et pointait le faux objectif dans cette direction. Le vrai objectif, situé au bout d’un soufflet, émergeait de son aisselle et visait le sujet désiré2.» Clouin nous fait voir son monde sous un jour remarquable de réalité et de proximité, comblant ainsi la séparation entre écran et spectateur. Nous regardons en quelque sorte à travers l’objectif de sa caméra, comme si celle-ci était entre nos propres mains. Même lorsqu’il la retourne vers lui-même, dans le cadre intime de son studio, nous avons encore l’impression de manipuler la caméra, découvrant son corps gai, étrange et ce sans la sensation désagréable de fouiner dans sa vie privée. Parfois narrées, les œuvres prennent alors le ton d’un journal intime tout en ayant une échelle cartographique: nous vivons ces moments en compagnie de Clouin, au fil de ses errances dans les rues de Paris et du monde, jamais tout à fait flâneur, jamais tout à fait voyeur. Sura Wood, journaliste à Hollywood, dit de son travail qu’il « (séduit) le public avec ses gros plans intimes de courbes et d’orifices de son propre corps bien modelé. Au moment où l’on pense reconnaître ce qui apparaît à l’écran, le corps se déplie et on réalise avoir été excité par le creux d’une épaule ou un lobe d’oreille particulierement sexy3». avec une économie de moyens, Clouin est capable de se montrer, de montrer son corps et ceux d’autres hommes sous un éclairage extraordinaire.  La mise en lumière de la vie homosexuelle ordinaire et d’une masculinité tangible est un antidote nécessaire aux images stéréotypées, exagérées, d’homosexuels que véhiculent constamment les médias. Clouin offre des images de la sexualité masculine gaie crûment honnêtes et qui baignent dans une lumière régénératrice et libératrice. Je remercie Pierre Yves Clouin de m’avoir montré que mon identité est résolument gaie et que ma vie, dans tout ce qu’elle a d’ordinaire, demeure toujours fascinante. Stefan St-Laurent, commissaire Traduit de l’anglais par Colette Tougas Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate (7 août 1984).(Notre traduction.)</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976) «, Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (visité le 20 octobre 2010).(Notre traduction.</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, avril 2005. (Notre traduction.)</li> </ol>  Artiste multidisciplinaire et commissaire, Stefan St-Laurent est né à Moncton au Nouveau-Brunswick en 1974. Il est détenteur d’un baccalauréat en arts médiatiques de l’université Ryerson de Toronto. Son travail performatif et vidéographique a été présenté dans de nombreuses galeries et institutions muséales au Canada (YYZ - Toronto, La Galerie d’art d’Ottawa, Western Front - Vancouver, Art Gallery of Nova Scotia - Halifax) et en Europe ( Centre national de la photographie de Paris - France, Centre d’art contemporain de Basse-Normandie, Edsvik Konst och Kultr - Suède). En 2008, il était invité de la Biennale d’art perfomatif de Rouyn-Noranda. Il a également été invité comme commissaire du Symposium international d’art contemporain de Baie-Saint-Paul de 2010 et 2011. Il agit présentement à titre de commissaire de la Galerie SAW Gallery d’Ottawa. <a href="https://pierreyvesclouin.fr/items/show/12">Extra Ordinary Men </a> Pierre Yves Clouin is an eccentric and transgressively curious video artist from Paris, and possibly the first video artist I worked with in my life, circa 1995. I met him in person for the first time about a decade ago in his hometown while doing curatorial research, and he showed me a side of this city few budding curators get to see and experience. I was confronted with a slew of new ideas, and even self-questioning. His work iluminated me in ways I didn’t think lo-fi, low budget video could. Clouin lived on the outskirts of Paris in a Le Corbusier - designed artists’ housing project. We walked there, quite far, from the Marais district to the Seine river on the Mitterand library side, stopping at a gay cruising area that was so over-the-top, Paris started to look unreal, like in the movies. If you asked a group of straight filmmakers to try to imagine what a gay cruising scene would look like, they would probably imagine exactly what I saw. It was an exaggerated reality: I realized right then and there that I was actually in that hyper-charged, sexualized space Clouin has been eternally fascinated with. In broad daylight, we walked through an underpass that became extremely dark. Moving figures could be seen briefly as silhouettes from the small door at the other end which emitted a little bit of light. I told him I was scared, and he just laughed. He knowingly said to me, «Wait until you see the other side.» There, men theoretically dressed as construction workers sat spread-eagle on colossal machines, scrotums oozing out of jeans holes like melting candles, with everyone eventually engaging in frenetic outdoor oral and anal sex. Many of Clouin’s later works indulge in this tenuous space where the public and the private cohabit. I was confronted with a prudeness inside me I didn’t know was there. For years, I thought I had gained my freedom by only having pronounced the words «I’m gay,» obivious back then to how heterosexualized or culturally sanitized my view was of my own sexuality. Renegade actor Marlene Dietrich proclaimed, «Sex. In America an obsession. In other parts of the world a fact», and one can’t help but imagine she was speaking latterly of Paris, where she spent the final years of her life. Drenched in sexuality and humour, Clouin œuvre shows us a facet of queer life that may be unflattering but still endearing, raw but spectacularly sublime. Examining Clouin’s philosophical side without referencing Michel Foucault would overlook what is at the heart of his practice. The corpus of his video are lived moments, or intimate recordings of the self in relation with others, captured by the tiny eye of a hand-held video camera. In a interview in 1982, Foucault could have been speaking of Clouin’s work: «Sexuality is a part of our behaviour. It’s part of our world freedom. Sexuality is something that we ourselves create. It is our own creation, and much more than the dicovery of a secret side of our desire. We have to understand that with our desires go new forms of relationships, new forms of love, new forms of creation. Sex is not a fatality; it’s a possibility for creative life. It’s not enough to affirm that we are gay but we also create a gay life.» A queer ethnography for popular consumption, his video work reveals the extraordinary and ordinary stuff found in contemporary queer culture. The game of hiding and revealing is quite significant, and reminds me of the paradox of gay life: seeking visibility and freedom all the while seeking invisibility for fear of violence and humiliation. While a voyeur does not typically relate or directly exchange with the subject he or she is observing, many critics and programmers refer often to the voyeuristic nature of Clouin’s work. I would rather make comparisons with secret photography, introduced in the late 1800s with the advent of spy cameras and popularized ever since by miniaturization of image-recording devices. And although France has now adopted quite strict laws prohibiting the publication of any photograph of a person without their express consent, Clouin embraces the lawlessness of what he is making and doing in the public sphere. His approach is certainly not new, and reminds us of Paul Strand’s technique: «Strand set out for Five Points, the heart of the immigrant slums on the Lower East Side, with his camera rigged with a false lens to distract attention. Approaching a potential subject, Strand turned ninety degrees away and aimed the false lens in the direction he was facing. The real lens, on an extended bellows, stuck out under his arm toward the person.»2 Clouin shows us his world with spectacular realness and proximity, closing the divide between screen and viewer. We are somewhat looking through Clouin’s camera lens, as if we were holding the camera ourselves. Even when he turns the camera onto himself, in the intimate setting of the studio, we feel like we are manipulating the camera once again, discovering his strange, queer body without that nagging feeling of snooping into his private life. Sometimes narrated, the works become diaristic in tone, and cartographic in scale - we are living the moments with Clouin, as he wanders the streets of Paris and the world, never quite flâneur, never quite a voyeur. Holywood reporter Sura Wood states that his work «(seduces) audiences with intimate close-ups of curves and orifices on his own well-sculpted body. Just when you think you recognize what’s on-screen, the body unfolds and you realize you just got turned on by shoulder cleavage or by a particularly sexy earlobe.»3 With an economy of means, Clouin is able to show himself, his body, and the bodies of other men, in an extraordinary light. This illumination of ordinary queer life, of tangible masculinity, is a necessary antidote to the stereotypical, exaggerated images of homosexuals we constantly encounter in the media. He portrays an image of queer male sexuality that is brutally honest, and basked in a light that is regenerating and liberating. I thank Pierre Yves Clouin for showing me that my identity is determinately queer, and that my life, in all its ordinariness, is somehow fascinating still.  - Stefan St-Laurent, Curator Notes <ol class="ol1"> <li class="li1">Bob Gallager et Alexander Wilson, « Michel Foucault. An Interview: Sex, Power and the Politics of Identity», Advocate, August 7, 1984.</li> <li class="li1">Department of Photographs, «Paul Strand (1890 - 1976), « in Heilbrunn Timeline of Art History, New York, The Metropolitan Museum of Art, 2000-, <a href="http://metmuseum.org/toah/hd/pstd/hd_pstd.htm">http://metmuseum.org/toah/hd/pstd/hd_pstd.htm</a> (accessed October 20, 2010)</li> <li class="li1">Sura Wood, «Exploring the Offbeat World of Experimental Film» San Francisco Arts Monthly, April 2005.</li> </ol>  Stefan St-Laurent, a multidisciplinaryartist and curator, was born in Moncton, New Brunswick, in 1974. He holds a Bachelor of Media Arts from Ryerson University in Toronto. His performative and video works have shown extensively in Canada and Europe, including at YYZ in Toronto, the Ottawa Art Gallery in Ottawa, Western Front  in Vancouver, the Art Gallery of Nova Scotia in Halifax, the Centre national de la photographie in Paris and  Edsvik Konst och Kultur in Sweden. In 2008, he was the guest curator of the Biennale d’art perfomatif de Rouyn-Noranda. He was also invited to serve as the guest curator of Baie-Saint-Paul’s International Symposium of Contemporary Art in 2010 and 2011. He is currently Curator of Galerie SAW Gallery in Ottawa. Date A point or period of time associated with an event in the lifecycle of the resource 2000-02-25 Rights Information about rights held in and over the resource © Pierre Yves Clouin Type The nature or genre of the resource MovingImage Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris mouth Paris song studio tape