1 20 823 https://pierreyvesclouin.fr/files/original/d7f9cebfdef93e4e838c11d6bca6ae62.pdf 2c363debe91a1c66db66eb02e8607374 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. 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 see more and more of people’s private lives reflected in the media. 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 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 WorldWide Video Festival Description An account of the resource A text by program director Remco Vlaanderen about <a title="THÉ AU RIZ" href="http://pierreyvesclouin.fr/items/show/72" target="_self">Thé au riz</a> & <a title="STRONG ENOUGH" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a> Date A point or period of time associated with an event in the lifecycle of the resource 2003-0-03 Relation A related resource <a title="THÉ AU RIZ" href="http://pierreyvesclouin.fr/items/show/72" target="_self">Thé au riz</a> & <a title="STRONG ENOUGH" href="http://pierreyvesclouin.fr/items/show/75" target="_self">Strong Enough</a> Type The nature or genre of the resource Text Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Amsterdam WorldWideVideo Festival https://pierreyvesclouin.fr/files/original/9325e412d5ee6aa41a860d1d3ceb6f22.pdf d8a1da2cf1a17012d1e8d860f0dae651 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2003-05-28 to 2003-07-05 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workman, Kangaroo and Mon Lapin bleu in Vue sur court, short film festival, La Rochelle Date A point or period of time associated with an event in the lifecycle of the resource 2003-05-28 to 2003-07-05 Relation A related resource <ul> <li><a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a></li> <li><a title="Kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a></li> <li><a title="mon lapin bleu" href="https://pierreyvesclouin.fr/items/show/1352">Mon lapin bleu</a></li> </ul> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant La Rochelle Festival https://pierreyvesclouin.fr/files/original/8bc2dc8cc31378980eb488d4696c7ca0.pdf 7bd69d5a046cdbec035c59d98fdaf04b https://pierreyvesclouin.fr/files/original/46a5246ab3d36324f6b3ccf5318c952b.pdf 101eb249db5aead2bba8dfc10a979373 https://pierreyvesclouin.fr/files/original/0d6d310fe69c3fb0b4be675c2d39867c.jpg 63053a60f235f01d984b132fccf79616 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Bit Depth 8 Channels 3 Height 379 Width 287 https://pierreyvesclouin.fr/files/original/88cb41eeb3742214b0ac229e49eea6a0.JPG f785c100537512b4302404d91a7bb88c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1999-04- 22 to 1999-05-06 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workman wins a Silver Spire Award at the San Francisco International Film Festival Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/774f1ff0701923697f8a8862edacd25e.jpg" alt="" width="400px" /> <a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Golden Gate Award Competition, New Visions Video</a> Date A point or period of time associated with an event in the lifecycle of the resource 1999-04- 22 to 1999-05-06 Relation A related resource <a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant San Francisco Festival https://pierreyvesclouin.fr/files/original/ecf5b0daad85e57e5aceb35b55bd81fa.pdf 37533d682698958fe37591b5b45c74e4 https://pierreyvesclouin.fr/files/original/88cf3927b5e5e5de21d73d5858e3682c.pdf 280d7525805fdffe811477babb9d19c6 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. <a title="WORKMAN" href="http://pierreyvesclouin.fr/items/show/99" target="_self">WORKMAN</a>  <a title="switch2" href="http://pierreyvesclouin.fr/items/show/109" target="_self">"La nuit de la pleine lune"</a> Cette programmation fut diffusée sur Arte vers minuit, un soir de pleine lune. Cʼest une des plus belle idée quʼait eu la télévision. Je voudrais en profiter pour féliciter ses concepteurs, Claire Doutriaux et Paul Ouazan. Moi qui dʼhabitude ai plutôt tendance à maudire la télé, cette machine à décerveler les gens… Je me souviens avoir lu une phrase de lʼinventeur de lʼart vidéo, Nam June Paik, qui disait “Moon is the oldest TV” ( la lune est la plus ancienne télé). Pour moi, la poésie électronique cʼest danser avec les astres, chanter avec les étoiles… sinon, autant faire des films publicitaires. Ce programme a été dessiné comme une constellation. Toutes ces étoiles (Guiton, Mocik, Wegman, Clouin, Smith…) sont là pour accompagner, répondre, dialoguer avec ce petit joyau de Nelson Sullivan. Je ne le connaissais pas. Quelle merveille. Cʼest le plus époustouflant autofilmage que je nʼai jamais vu. Nelson est omniprésent, et pourtant cʼest le monde quʼil filme, son monde, ses ami(e)s, et quelque part nous-même. Cʼest tendre et en même temps terriblement tragique. Bien entendu, il faut voir les six épisodes pour apprécier “La dernière promenade de Nelson” qui donne un relief surprenant à lʼensemble. Ce sont les dernières vidéo de Sullivan." Gilda Edward (Etudiante) in Programme 1999 Archive : Les Instants Vidéo Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data html 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 WORKMAN in switch2 on arte Description An account of the resource <a href="https://pierreyvesclouin.fr/items/show/108"><a title="Workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a></a> in <a href="https://pierreyvesclouin.fr/items/show/108">switch2</a> on arte, text by Gilda Edward in 24-25, les instants videos 99 Date A point or period of time associated with an event in the lifecycle of the resource 2010-10-26 Relation A related resource <a title="Workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a>, <a title="switch2" href="https://pierreyvesclouin.fr/items/show/108">switch 2</a> Type The nature or genre of the resource Text 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 24-25 https://pierreyvesclouin.fr/files/original/bd697f6bfcdd9d13392d534bb83b52d7.pdf bbdb7c7886a81017f6ba133d2a7624e3 Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1999 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workman in Split Film Festival 1999 Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/e15a0f217ada6be95f6dbf3b116e1774.jpg" alt="" width="400px" /> Relation A related resource <a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Split Festival https://pierreyvesclouin.fr/files/original/4f327a164b547b5878fc2a86524fadcc.pdf 832db4bbf3f1d8c5fcda89ce0c1d9b9f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1998-10-16 to 1998-11-29 Event Type biennal 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 Workman in Pandaemonium, the London Festival of Moving Images 1998 Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/12b9aae6d4a76431b885e0dc469a3927.jpg" alt="" width="400px" /> London electronic Arts, Lux, London Relation A related resource <a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant London biennal https://pierreyvesclouin.fr/files/original/2c30e33bab6ccf40d0b420b1682d0e46.pdf 1a231d75282965dca27bb8bc514c3fa4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1999-04-22 to 1999-05-01 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workman in Images Festival 99 Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/64a0a6a8f88dd404b46c1877e6bade22.jpg" alt="" width="400px" /> Relation A related resource <a title="Workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Toronto Festival https://pierreyvesclouin.fr/files/original/8d7b079cc8959f35f4a1f407044c050f.pdf 850ec2813531a51f3d4cdce62ff53427 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1999-09-22 to 1999-09-26 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workman in 4th Cinematexas Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/ae6f211566b129e88421a4bf35c6748e.jpg" alt="" width="400px" /> Relation A related resource <a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Austin Festival https://pierreyvesclouin.fr/files/original/30bdb4e6848b57955ba357462dcdac9f.pdf 74d43e4bb095ea2cffd15c264fc5d3e9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1998-11-18 to 1998-11-21 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workman in 12eme Rencontre Video Art Plastique Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/f0d865b080c4ece1ca92ff53d35e9990.jpg" alt="" width="400px" /> in Centre d'art contemporain de Basse Normandie Relation A related resource <a title="Workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hérouville St Clair, FR Festival https://pierreyvesclouin.fr/files/original/36212b8093770d3a3fa4eb5a52fcb0ed.mov 2badf89e567f6e2a5fa9c82a8d09c6c1 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 201123 Codec H.264 Duration 357 Height 240 Width 320 https://pierreyvesclouin.fr/files/original/fe6027f1e4e774c12789647ba859f410.JPG f785c100537512b4302404d91a7bb88c 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 vhs Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:06:00 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 Workman Description An account of the resource <iframe width="480" height="270" src="//www.dailymotion.com/embed/video/x7rv1t" frameborder="0"></iframe> I get hungry for dinner at height that’s why this lady is a tramp Ma tête pend mais je dois finir ça Collection: <a title="http://www.getty.edu/news/press/center/long_beach_video_art.html" href="http://primo.getty.edu/primo_library/libweb/action/dlDisplay.do?vid=GRI&afterPDS=true&institution=01GRI&docId=GETTY_ALMA21112906300001551">Getty Research Institute</a>, Long Beach Museum of Art Contemporary Video Archive, Los Angeles, California, USA <a title="http://history.sffs.org/films/search.php?search_by[6]=6&searchfield=workman&x=33&y=10" href="http://history.sffs.org/films/search.php?search_by%5B6%5D=6&searchfield=workman&x=33&y=10">Silver Spire Award, New Visions Video, Golden Gate Awards Competition, 42nd San Francisco International Film Festival, San </a><a title="http://history.sffs.org/films/search.php?search_by[6]=6&searchfield=workman&x=33&y=10" href="http://history.sffs.org/films/search.php?search_by%5B6%5D=6&searchfield=workman&x=33&y=10">Francisco, California, USA, 1999</a> Television broadcast:<a title="Program arte switch 2" href="http://pierreyvesclouin.fr/items/show/109" target="_self"> Switch 2, Atelier de recherche de la sept arte, arte,</a> 1999 exhibitions and screenings of "Wokman": 2014 <ul> <li><a title=""Workman" in Lecorps numérique, Theatre Liberté, Toulon" href="http://www.theatre-liberte.fr/le-corps-numerique" target="_self">"</a><a title=""Workman" in Lecorps numérique, Theatre Liberté, Toulon" href="http://www.theatre-liberte.fr/le-corps-numerique" target="_self">Le triple ecran"</a>, Le corps numérique, Théatre Liberté,  Toulon, France</li> </ul> 2007 <ul> <li>“L’art video, un art contemporain” curated by Heure exquise!, Reims, France</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> 2003 <ul> <li><a title="vue sur court" href="http://pierreyvesclouin.fr/items/show/646" target="_self">Vue sur court,</a><a title="vue sur court" href="http://pierreyvesclouin.fr/items/show/646" target="_self"> short film festival</a>, La Rochelle, France</li> </ul> 2002 <ul> <li>“Non sto Media”, PRO ARTE Institute, St. Petersburg, Russia</li> <li>Glazart, Paris, France</li> </ul> 2001 <ul> <li><a title="cinedif01" href="http://pierreyvesclouin.fr/items/show/212" target="_self">3ème Festival des Cinémas Différents de Paris</a>, Paris, France </li> <li>“Video/ Je vois”, Guggenheim Museum, Bibao, Spain</li> <li><a title="moscow 01" href="http://pierreyvesclouin.fr/items/show/199" target="_self">Moscow International Film Festival</a>, Moscow, Russia</li> <li>galerie eof, Paris, France</li> </ul> 2000 <ul> <li>Forcement Contemporain, Clermont-Ferrand , France</li> <li></li> </ul> 1999 <ul> <li><a href="https://pierreyvesclouin.fr/items/show/645">"International Eclectic," curated by Dennis Bellone,</a> Walden Gallery, New York City, New York, USA</li> <li>Cosa Vedere, Biennale, Rome, Italie</li> <li>4th International<a title="http://livepage.apple.com/" href="http://livepage.apple.com/"> Festival of New Film Split</a>, Split, Croatia</li> <li><a title="cinematexas 99" href="http://pierreyvesclouin.fr/items/show/603" target="_self">4th Cinematexas</a>, 1999 International Short Film + Video Festival, University of Texas, Austin, Texas, USA</li> <li><a href="https://pierreyvesclouin.fr/items/show/1388">Outfest 99</a>, Los Angeles, California, USA</li> <li><a title="http://history.sffs.org/films/search.php?search_by[6]=6&searchfield=workman&x=33&y=10" href="http://history.sffs.org/films/search.php?search_by%5B6%5D=6&searchfield=workman&x=33&y=10">42nd San Francisco International Film Festival, Golden Gate Awards Competition, San Francisco, California, USA</a></li> <li><a title="images festival" href="http://pierreyvesclouin.fr/items/show/629" target="_self">Images Festival of Independent Film and Video</a>, Toronto, Ontario, Canada</li> <li>"Spécial Pierre Yves Clouin,"organized by Le Mas and CICV Pierre Shaeffer, Montpellier, France</li> <li><a href="https://pierreyvesclouin.fr/items/show/1402">MIX Mexico</a> - Tercer Festival de Diversidad Sexual en Cine y Video, Mexico City, Mexico</li> <li>13th <a href="https://pierreyvesclouin.fr/items/show/1398">London LGBT Film Festival</a>, British Film Institute, London, UK</li> <li>THAW 99, University of Iowa, Iowa City, Iowa, USA</li> <li>14èmes <a href="https://pierreyvesclouin.fr/items/show/1429">Videoformes</a>, Clermont-Ferrand, France</li> <li>Mardi Gras Film Festival, Sydney, Australia</li> <li>Modern Art Oxford, screenings curated by Robert Bowman around an exhibition on Gustav Metzger, Oxford, UK</li> <li> <a href="https://pierreyvesclouin.fr/items/show/597">offline@online</a>, French-Baltic-Nordic Video & New Media Festival, Estonian Academy of Arts, Tallinn, Estonia - Guest Artist </li> </ul> 1998 <ul> <li>12e <a title="rencontre herouville" href="http://pierreyvesclouin.fr/items/show/595" target="_self">Rencontres Vidéo Art Plastique</a> 1998, Centre d'Art Contemporain de Basse-Normandie, Hérouville Saint-Clair, France</li> <li><a href="https://pierreyvesclouin.fr/items/show/1386">MIX NYC, Anthology Film Archives</a>, New York City, New York, USA</li> <li><a title="pandaemonium" href="http://pierreyvesclouin.fr/items/show/592" target="_self">Pandæmonium Festival, The Lux Centre for Film, Video + New Media</a>, London Electronic Arts, London, UK</li> </ul> <a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self">Simone Dompeyre: </a><a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self">Rencontres Traverse Vidéo, Toulouse, France</a> " <a title=""Shooting Star" by PY Clouin" href="http://pierreyvesclouin.fr/items/show/687" target="_self">Shooting Star</a> : étoile filante ou étoile que l’on a filmée, la double traduction amorce le propos de Pierre Yves Clouin qui n’a jamais abandonné cette possibilité de double lecture. Qu’il filme en ses débuts, son corps en « contenu explicite » comme les catalogues qualifient ses œuvres, alors la vidéo s’intitule <a title=""cowboy" by PY Clouin" href="https://pierreyvesclouin.fr/items/show/%20http://pierreyvesclouin.fr/items/show/1105" target="_self">Cow Boy</a>, en accord avec le plan de bas du corps, jambes écartées, en position de duel, mais la main attouche le sexe. Le corps, nu encore, devient (<a title=""c'est le veau qui bêle" by PY Clouin" href="http://pierreyvesclouin.fr/items/show/107" target="_self">c’est) le veau qui bêle</a> grâce au cadrage détournant le visage et se jouant des mouvements des membres, de même <a title=""Workman" by PY Clouin" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman</a> transforme ce corps humain en être différent…  Depuis ce sont les objets, les lieux, les éléments qui sont ainsi détournés pour seul exemple : <a title=""Rodin des bois" by PY Clouin" href="http://pierreyvesclouin.fr/items/show/654" target="_self">Rodin des bois</a> entraîne au versant de l’étrange, des troncs devenant chimères.  En un nouvel esprit des choses, Clouin sait créer des beautés cachées, dans l’immédiateté de leur rencontre au gré de ses déplacements. Il accepte l’invitation.  Du quotidien, il trouve la tension, le moment où l’on se plaît à voir autre chose que ce qui est ; alors il déclenche l’appareil qu’il porte ; léger, il le tient près de son regard curieux cela peut être le téléphone désormais et précisément pour <a title=""Shooting Star" by PY Clouin" href="http://pierreyvesclouin.fr/items/show/687" target="_self">Shooting Star</a>. Curieux, c’est prendre soin/cura en latin.  Le film interstitiel s’évade de la reconnaissance quotidienne : ainsi un reflet du portable – allumé incidemment, explique PY Clouin, sur la fonction « lampe de poche » – devient l’étoile filante porteuse de vœu et ici porteuse du film.  Les plans se saccadent, se succèdent selon l’itinéraire, les bruits urbains sont plus ou moins précis, la lumière varie ainsi que la couleur allant jusqu’au vert si éloigné de notre imagerie de la ville. En effet de travelling, le halo passe de vitrine à vitre de voiture, à fenêtres et baies d’appartement, de bureaux, de magasins… il glisse sur des grilles variées, des claustras, passe au plein ciel. La petite lumière s’accélère jusqu’au filage, le quotidien « s’expanse », l’autre est à portée de l’œil qui sait voir, il se prête à l’invention de filmer." <a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self">Simone Dompeyre</a> <a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self">Avril 2018</a> <a title="catalogueTraverse2018" href="https://traverse-video.org/catalogue_2018/catalogue_2018.html#p=92" target="_self">Rencontres Traverse Vidéo, Toulouse, France</a> <h1></h1> <a href="https://pierreyvesclouin.fr/items/show/682">"Workman" (and other works by Pierre Yves Clouin) in Le triple écran, Le corps numérique, Théatre Liberté, Toulon, France</a> L’artiste découvre, en se scrutant de près, de très près, quels drôles d’animaux habitent en nous. À fleur de peau, des formes inquiétantes excitent notre imagination, et nous voyons des monstres qui nous font des grimaces. Le corps devient une cathédrale où pullulent les gargouilles <a href="https://pierreyvesclouin.fr/items/show/516">"Dancefilm: Choreography and the Moving Image," by Erin Brannigan, Oxford University Press, 2011, New York, USA</a> "The French filmmaker Pierre Yves Clouin takes this potential of the close-up to an extreme, maximizing the tendency toward obscurity to create his intimate signature aesthetic. Clouin's films are autoportraits of his body shot in close range and at strange angles, creating uncanny images to the sound of his physical exertions. In <a title="kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">'</a><a title="kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a><a title="kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">'</a> (1998), fingers and then a hand emerge through what looks like buttock cheeks but could be knees. In <a title="the little big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">'</a><a title="the little big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big</a><a title="the little big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">'</a> (1999), a barely lit anthropomorphic shape moving slightly back and forth is discerned, again resembling buttocks, but a burst of light reveals it is a shot of his back, down his body from behind his head, his bare buttocks creating another similar shape below. In <a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">'</a><a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman' </a>(1998), a shot of Clouin's back and thighs with his bottom raised high in the air focuses on the action of the muscles in his back and hip, the gluteus muscle pumping in and out as his knee bends and straightens. The crease in his hip begins to look like that between forearm and upper arm or any other corporeal joint. The resulting movements have an uncanny quality that departs from corporeal specificity, expressing the materiality of the human condition humorously through unlikely and undisclosed bodily sites." - Erin Brannigan, "Dancefilm: Choreography and the Moving Image," Oxford Univesity Press, New York, 2011. <div id="dublin-core-description" class="element"> <div class="element-text"><a href="https://pierreyvesclouin.fr/items/show/516">"Dancefilm: Choreography and the Moving Image," by Erin Brannigan, Oxford University Press, 2011, New York, USA</a> « Le réalisateur français Pierre Yves Clouin, en tendant au maximum vers l'obscurité pour créer son intime signature esthétique, pousse à l’extrême ce potentiel du plan rapproché. Les vidéos de Clouin sont des autoportraits de son propre corps filmé à bout portant et sous d’étranges angles qui créent des images déroutantes, avec pour fond sonore le bruit de son travail physique. Dans «<a title="kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">'</a><a title="kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a><a title="kangaroo" href="http://pierreyvesclouin.fr/items/show/96" target="_self">'</a> » (1998), des doigts puis une main sortent de ce qui ressemble à des fesses mais pourraient aussi bien être des genoux. Dans <a title="the little big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">'</a><a title="the little big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big</a><a title="the little big" href="http://pierreyvesclouin.fr/items/show/11" target="_self">'</a> (1999), on discerne une forme anthropomorphe à peine éclairée qui se balance doucement et qui ressemble de nouveau à des fesses ; mais un éclat de lumière révèle que c'est son dos, vu d’en haut juste derrière sa tête, alors que ses fesses nues forment la même figure en-dessous. Dans <a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">'</a><a title="workman" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman' </a>(1998), un plan de son dos et de ses cuisses, avec ses fesses tout en haut, se focalise sur l'action des muscles de son dos et de sa hanche. Le grand fessier se contracte et s’étire, alors que son genou se plie et se déplie. L’articulation de sa hanche commence alors à ressembler à celle de l’intérieur du coude ou à n'importe quelle autre articulation du corps. Les mouvements qui en résultent ont une qualité mystérieuse qui s'écarte de leur origine corporelle. Par l’exploration de champs non divulgués et improbables du corps, ils expriment avec humour la matérialité de la condition humaine. » Erin Brannigan works in dance and film as a journalist, academic and curator. She was the founding Director of ReelDance International Dance on Screen Festival and has curated dance screen programs and exhibitions for Sydney Festival 2008, Melbourne International Arts Festival 2003 and international dance screen festivals. Erin writes on dance for the Australian arts newspaper, RealTime and lectures in the School of English, Media and Performing Arts at the University of New South Wales. Dancefilm: Choreography and the Moving Image is available from <a class="style_7" title="http://www.us.oup.com/us/catalog/general/subject/Music/Dance/?view=usa&ci=9780195367232" href="http://www.us.oup.com/us/catalog/general/subject/Music/Dance/?view=usa&ci=9780195367232">Oxford Univesity Press</a> and at <a class="style_7" title="http://www.amazon.com/Dancefilm-Choreography-Moving-Erin-Brannigan/dp/0195367235" href="http://www.amazon.com/Dancefilm-Choreography-Moving-Erin-Brannigan/dp/0195367235">Amazon.com</a>.</div> </div> <a title=""Corporeal Creations" by Sophie Walon" href="http://www.oxfordhandbooks.com/view/10.1093/oxfordhb/9780199981601.001.0001/oxfordhb-9780199981601-e-16" target="_self">Corporeal Creations in Experimental Screendance: Resisting Sociopolitical Constructions of the Body " by Sophie Walon in The Oxford Handbook of Screendance Studies</a> Edidited by Douglas Rosenberg, Oxford University Press, 2016 <div id="bookContent" class="indexSummary bookSummary summary"> <div class="title"> <div class="metaBlock"> <dl class="metadata metadataSubject"> <dt class="metadataLabel">This chapter examines experimental screendances that disrupt the traditional notion of the body by constructing bizarre corporealities. The chapter analyzes films that display choreo-cinematic experimentations on body representation, such as those of Thierry De Mey, Laurent Goldring, Antonin De Bemels, Wim Vandekeybus, and Pierre Yves Clouin. These films present unconventional bodies that appear in turns animalistic, oversexualized (or differently sexualized), pathological, monstrous, and unidentifiable, undergoing all sorts of transformations and metamorphoses, thus resisting sociocultural, economic, and political processes of standardization of the body. The chapter argues that these screendance bodies are linked to the philosophical and political conceptualizations of the body by Maurice Merleau-Ponty (“openness to the world,” “corporeality”), Michel Foucault (“biopowers,”), and Gilles Deleuze (“body without organs,” “becomings,” “de-hierarchization of the body”). The chapter develops a reflection on screendance bodies, emphasizing that certain screendances also suggest philosophical and political issues that are embedded in their subversive representations of the body. extraits:</dt> </dl> … J’analyserai des films de danse contemporaine européens (particulierement français et belges) qui expérimentent les représentations du corps - les films des réalisateurs Thierry De Mey, Laurent Goldring et Antonin de Belmels qui travaillent en colaboration avec des chorégraphes, les films du chorégraphe et réalisateur Wim Vandekeybus et ceux du performeur réalisateur Pierre Yves Clouin. Les travaux de ces artistes dévoilent des corps non conventionnels qui apparaissent comme animaux, ouvertement sexualisés, pathologiques, monstrueux ou inidentifiables et subissent toutes sortes de transformations et de métamorphoses… … ainsi le contenu de ces films est plus ou moins chorégraphique… Les travaux de Clouin sont plus exactement des vidéos de performances que des films de danse à proprement parler…… Les corps de ces films de danse … peuvent être décodifiés et défamiliarisés (voir les préocupations de Goldring et Clouin quant à la déconstruction des formes et fonctions attendues du corps)... … de manière similaire l’autoportrait de Clouin lui même dans “<a title=""C'est le veau qui bêle" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/107" target="_self">C'est le veau qui bêle</a>”. Par l’imitation du bêlement et le plan en contre plongée qui ne montre que le menton et sa langue, qui apparait régulièrement quand il bêle, la vidéo présente la surprenante image d’une créature hybride à moitié être humain et veau. La confusion est réhaussée par la qualité incertaine de l’image  ainsi que par la basse résolution de la vidéo. Et dans <a title=""Cowboy" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/97" target="_self">Cowboy</a>, Clouin apparaît à moitié homme et à moitié vache, filmé de derrière à quatre pattes, l’artiste manipule ses testicules et fait bouger stratégiquement ses doigts pour qu’ils ressemblent à des mamelles… … Les vidéos expérimentales de Clouin exhibent souvent son corps nu avec une insistance sur ses fesses et ses parties génitales, dans des positions très suggestives et provocatrices. "<a title=""Kangaroo" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a>", qui montre une main qui sort de ce qui ressemble être une paire de fesses, semble sous entendre (dans sa version inversée) la pratique sexuelle du fisting. Dans “<a title=""Mon Lapin Bleu" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/89" target="_self">Mon Lapin Bleu</a>”, l’artiste simule de façon comique des relations sexuelles avec un lapin bleu en peluche, dans de multiple positions acrobatiques. Dans “<a title=""The Little Big" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/11" target="_self">The Little Big </a>” il semble que nous sont montrées des fesses avant qu’il ne devienne clair que ce sont les épaules et omoplates de l’artiste. Pourtant juste au moment où tout contenu sexuel et toute obscenité semblent être alors exclus par cette prise de conscience, Clouin révèle une scène encore plus audacieuse, après nous avoir dévoilé ses épaules et alors qu’il se penche, nous découvrons qu’il est sur un lit, et ses mouvements suggèrent de toute évidence qu’il se masturbe… … Dans le "<a title=""Kangaroo" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/96" target="_self">Kangaroo</a>" de Clouin une main émerge de ce qui ressemble à la raie de ses fesses. L’effet est au delà du bizarre, c’est monstrueux: son cul semble donner naissance ou défequer une main. La vidéo de Clouin dérange horriblement les fonctions et emplacements usuels des organes… … Jouant sur la difficulté à distinguer les différentes parties du corps, certaines vidéos de Clouin  éloignent notre perception du corps en déjouant nos attentes et en court-circuitant nos certitudes. "<a title=""Front Room" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/105" target="_self">Front Room</a>" commence sur Clouin qui lèche une ronde et voluptueuse partie du corps, qui, parce qu’on est très près et du fait de l’avidité manifeste de l’artiste, semble être un sein avant que la caméra ne zoome en révelant le bras de Clouin. Dans “<a title=""workman" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman </a>” , nous ne sommes pas sûrs de ce que nous voyons, le haut du dos de Clouin, des bras et une tête, ou un cul, le bas du dos et des cuisses. La vidéo joue sur cette incertitude: avant que nous ne voyons ses parties génitales et ses genoux (c’est à dire, avant que nous ne sachions qu’il s’agit du cul de l’artiste à l’écran), l’angle de prise de vue nous laisse penser que nous voyons des épaules et sa tête courbée et cachée. A la fin de la vidéo, quand Clouin utilise une serviette, il semble qu’il s’essuie le cou et les cheveux, ce qui à nouveau jette un doute sur la certitude d’avoir vu son cul. Le flou récurrent de l’image et la position persistante de l’artiste, qui bouge à peine, sont aussi déroutantes, ce qui laisse du temps au public pour projeter ses propres visions et attentes sur ce qu’il voit: “Dans “<a title=""workman" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/99" target="_self">Workman </a>” nous savons parfaitement que ce sont mes jambes que l’on voit, mais elles agissent comme si elles étaient des bras. aussi par leurs actions, leurs mouvements, elles sont identifiées comme des bras, mais les spectateurs les reconnaissent vraiment comme des jambes. Ce qui est intéressant ici c’est que nous restons très incertains de ce que nous voyons même si toutefois nous en sommes sûrs” (interview non publiée de l'auteur, Mars 2013). De plus, comme la position de Clouin apparaît très peu naturelle pour un être humain et comme il reste dans cette position un long moment, la traditionnelle représentation de la figure humaine comme bipède avec une morphologie clairement organisée vers le haut, en est troublée… … Les films de Clouin et Goldring, en particulier, déterritorialisent les organes sexuels et les membres. Par exemple, dans “<a title=""J'ai des bouche partout" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/88" target="_self">J'ai des bouches partout</a>”(1999) qu’il traduit par “I’ve got mouths all over”, Clouin fait que son oreille ressemble à une bouche et suggère qu’elle devienne un organe sexuel, capable d’une fellation. C’est une sorte de déteterritorialisation fantastique de ses organes suivant une logique libidinale de réinvention de sa corporalité comme plus sexuée. Il semble trahir un souhait d’avoir plus d’organes sexuels à explorer et un appel à ce que le corps entier mute en une surface érogène étendue.</div> Sophie Walon </div> </div> <div id="document-item-type-metadata-text" class="element"> <div class="element-text"><a href="https://pierreyvesclouin.fr/items/show/110">Inrockuptibles</a> <a href="https://pierreyvesclouin.fr/items/show/110">Art critic Nicolas Thély publishes a review of Switch 2, arte 1999</a> Pierre-Yves Clouin enregistre dans son intégralité une action souvent vaine (comme se déplacer à quatre pattes) mais qui intrigue par ses effets d'oprique . Le jeune vidéaste se joue du temps de la télévision, du temps segmenté par la publicité, formaté par la grille des programmes où rien n'est gratuit.</div> </div> <a href="https://pierreyvesclouin.fr/items/show/108">Les nuits de la pleine lune</a> <a href="https://pierreyvesclouin.fr/items/show/108">Switch 2</a> Films expérimentaux, films abstraits, art vidéo et performances surgissent sur les écrans d'ARTE chaque nuit de pleine lune. Douce dérision, grain de folie et accès d'humeur s'immiscent dans cette troisième Nuit. Une nuit proposée par Claire Doutriaux et Paul Ouazan LA SEPT ARTE Une année des treize lunes ARTE fête les treize pleines lunes de 1999 avec l3 programmations spéciales. Chaque Nuit sera produite par un des partenaires d'ARTE (Allemagne, France, Belgique, Espagne...). Elle donnera libre cours à des programmes inédits :courts métrages, surprises, films expérimentaux, auto.tictions, zapping... Expérimentez ! Une fois par mois, Switch privilégie I'univers singulier d'un réalisateur ou d'un artiste. Après leur première Nuit, Claire Doutriaux et Paul Ouazan nous proposent ce soir d'explorer le travail unique du vidéaste américain Nelson Sullivan. Figure connue du milieu underground new-yorkais, celui-ci nous guide dans les rues d'un New York inconnu avec humour et autodérision. On verra aussi les æuvres de Jean-Pierre Mocik, Pierre-Yves Clouin, Marie-Ange Guilleminot, William Wegman et la nuit se terminera en beauté avec le film culte de Jack Smith, Flaming Creatures. Pierre-Yves Clouin Ce jeune vidéaste français a fait de son corps un lieu d'exploration privilégié. Cadrages, décadrages et jeux de perspectives confèrent à ces petites ceuvres un caractère extrêmement déroutant     Date A point or period of time associated with an event in the lifecycle of the resource 1998-01-12 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 Paris nudity studio 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/7731a8d3e89b30cfe753b88fe91f4a2d.mov 61d17124d3dcd07c7d8a166fccf41ae5 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 742167 Codec H.264 Duration 68 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.) 00:01:08 Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Waiting Description An account of the resource <iframe src="//www.youtube.com/embed/RPMh8Ae6H7M" frameborder="0" width="420" height="315"></iframe> "..." exhibitions and screenings of " Waiting": 2006 <a title="rencontres Paris Berlin 2006" href="http://www.art-action.org/site/fr/catalog/archive/06/index_cd.htm" target="_self"> . Rencontres Internationales Paris Berlin, Paris, France</a> . Back Up, Weimar, Germany . ICDOCS, Iowa City, Iowa, USA Date A point or period of time associated with an event in the lifecycle of the resource 2006-03-04 Rights Information about rights held in and over the resource © Pierre Yves Clouin Format The file format, physical medium, or dimensions of the resource 00:01:08 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 reflection Samuel Beckett 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. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 1' Director Name (or names) of the person who produced the video. Pierre Yves Clouin Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource <a href="https://dai.ly/x8j7umw"><img title="Voiles" src="https://pierreyvesclouin.fr/files/original/28bb935677f4aeb0f8d9ea588427460b.jpeg" alt="" width="400px" /></a> Les mettre sailing exhibitions and screenings of Voiles: 2025 - <a href="https://pierreyvesclouin.fr/items/show/1734">Beijin International Short film Festival,</a> Beijin, China - <a href="https://pierreyvesclouin.fr/items/show/1743">"Se minha cidade fosse um filme", 1 Minuto Film Festival</a>, São Paulo, Brazil - <a href="https://pierreyvesclouin.fr/items/show/1733">12th International Festival of Cinema Art Mister Vorky</a>, Ruma, Serbia - <a href="https://pierreyvesclouin.fr/items/show/1720">Kyiv International Short film Festival</a>, Kyiv, Ukraine Title A name given to the resource Voiles (Sailing) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vinokino 2003 Description An account of the resource <a title="Lunch" href="http://pierreyvesclouin.fr/items/show/68" target="_self">"Lunch" </a>(2002) was presented at the <a title="http://www.tuseta.fi/vinokino" href="http://www.tuseta.fi/vinokino">Vinokino Lesbo- ja Homoelukuvan Festivaali</a> lesbian and gay film festival held in Turku, Finland, November 6-11. "Lunch" was screened in the program "Whole Meal" on November 9. Date A point or period of time associated with an event in the lifecycle of the resource 2003-11-06 to 2003-11-11 Relation A related resource <a title="Lunch" href="http://pierreyvesclouin.fr/items/show/68" target="_self">"Lunch" </a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Turku Festival https://pierreyvesclouin.fr/files/original/0adbf14fc8add99b0f5e523cb2510bd6.pdf a1b032298a76f33dd3304a8353c4982c Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Event Type Biennale 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 Videonale 7 Description An account of the resource <img src="http://pierreyvesclouin.fr/files/original/251923dad79ca9befffcf89babce5c9c.jpg" alt="" width="400px" /> Biennal of video  Relation A related resource <a title="C'est le veau qui bêle" href="http://pierreyvesclouin.fr/items/show/107" target="_self">C'est le veau qui bêle</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Bonn Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 2001-02-10 Event Type screening Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vancouver : "Drag" reprised Description An account of the resource "Dragged Out: A Studied Glance at Current Radical Drag," a program curated by Ger Zielinski for Toronto's Pleasure Dome in July 1999 that includes Clouin's “Cowboy” and " “Diana Texas”was screened February 10 at Video In Studios, Vancouver. Relation A related resource <a title=""Cowboy" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/97" target="_self">Cowboy</a>, <a title=""Diana Texas" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/90" target="_self">Diana Texas</a> Type The nature or genre of the resource event Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Vancouver Screening https://pierreyvesclouin.fr/files/original/86117f448010284bac647fd388fc3240.m4v eee4053b5c3e503d9b32a8575ddbc7c1 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. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:02:17 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 Upset Description An account of the resource <img title="Upset" src="https://pierreyvesclouin.fr/files/original/93a7a477d22811f94b4669e08a787b1f.jpeg" alt="" width="400px" /> you can see the movie at the bottom of the page Dérangé exhibitions and screenings of "Upset": 2015 <ul> <li><a title="Upset & shooting star by Pierre Yves Clouin at RISC" href="http://www.pollymaggoo.org/doc_polly/risc-2015.html" target="_self">Rencontres Internationales Sciences & Cinemas (RISC)</a>, Marseille, France</li> </ul> Thomas Carratu, <a title="Thomas Carratu"Entretien avec Pierre Yves Clouin-RISC2015"" href="https://festivalrisc2015.wordpress.com/2015/11/26/entretien-avec-pierre-yves-clouin/" target="_self">"Au cœur du Festival, entretien avec Pierre Yves Clouin/Festival RISC 2015"</a>, Blog des étudiant-e-s de l'Ecole de Journalisme et Communication d'Aix-Marseille, November 26, 2015, Marseille, France Date A point or period of time associated with an event in the lifecycle of the resource 2014 Rights Information about rights held in and over the resource © PY Clouin Type The nature or genre of the resource Moving Image Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris https://pierreyvesclouin.fr/files/original/030a0660f5711906c9d774b14feb9d01.pdf 8ef0fe6d0b05bd4bde379ab75a0dc93b https://pierreyvesclouin.fr/files/original/3764ff9d41e2b4cae9d8ccbffd0b1ec0.pdf 671ced625b2e0713179560954c290486 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Une femme, (A Woman,) selected by The Lift-Off Sessions, London Description An account of the resource <img title="Lift.Off" src="http://pierreyvesclouin.fr/files/original/04d19884a9848b548dbf6bc8406a6c6b.PNG" alt="" width="400px" /><a title="Lift.Off" href="https://www.soanywaymagazine.org/" target="_self"> </a> <a title="une femme," href="http://pierreyvesclouin.fr/items/show/1138" target="_self">Une femme,</a> (A Woman,) selected by <a title="Lift.Off" href="https://liftoff.network/london-lift-off-film-festival/" target="_self">The Lift-Off Sessions</a> online programme 4, (June-August), London, UK Relation A related resource <a title="une femme," href="http://pierreyvesclouin.fr/items/show/1138" target="_self">Une femme,</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant London https://pierreyvesclouin.fr/files/original/04dfc3f1e37ad3c9438342a78b444e0f.pdf fbae0493a0a8784d5d96f590e4810f74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions, screenings, festival selections & documents Event A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration. Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 13-19/10/2018 Event Type festival Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Une femme, (A Woman, ) selected at Un festival c'est trop court, Nice Description An account of the resource <img title="Femme, at un festival c'est trop court" src="http://pierreyvesclouin.fr/files/original/93351f2abeb5ac9850ab232d3fff6f52.jpg" alt="" width="400px" /> Une femme, (A Woman, ) selected in competition Experience at <a title="Un festival c'est trop court 2018" href="https://nicefilmfestival.wixsite.com/2018" target="_self">Un festival c'est trop court (October 13-19)</a> screened Monday October 15, 4:30pm at Cinema Mercury and October 17, 6pm at la Villa Arson, Nice, France Relation A related resource <a title=""Une femme," by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/1138" target="_self">Une femme,</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Nice https://pierreyvesclouin.fr/files/original/347827a9cdff16ca6fafb1529bd47ff6.jpg 7c2ffcaba56b41a2bc711af310029b04 https://pierreyvesclouin.fr/files/original/2f360c6100d62e391dbc2783a3e175c6.mov 8bb8b72fc37f373a0c9c3c70b964983a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Films (1995 - ) Description An account of the resource Pierre Yves Clouin has been working exclusively in film since 1995 Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data 4k Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:01:04 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 Un sourire grand comme ça (A Big Smile Like That) Description An account of the resource <iframe src="https://player.vimeo.com/video/287456715" frameborder="0" width="640" height="360"></iframe> <img title="Un sourire grand comme ça </ul> </ul> (A Big Smile Like That)" alt="" /> Fait avec les pieds Made with my feet Date A point or period of time associated with an event in the lifecycle of the resource 2018-08-19 Rights Information about rights held in and over the resource © PY Clouin Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Paris