1
20
11
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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.
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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.)
00:01:28
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
<p><em>Reflexion faite (</em>On Reflection)</p>
Description
An account of the resource
<img title="Reflexion faite (On Reflection)" src="https://pierreyvesclouin.fr/files/original/c79bf3b41ec24dd79f82004eccae3fc0.jpeg" alt="" width="400px" /><br />
<p><strong>you can see the movie at the bottom of the page</strong><em><br /><br />L’intérieur est à l’extérieur<br /></em>Inside is outside</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2012-04-10
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
day
night
Paris
People
reflection
-
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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
215647
Codec
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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.)
00:38:47
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
<p><em>Je suis un indien Pontiac</em> (I'm a Pontiac Indian)</p>
Description
An account of the resource
<img title="Je suis un indien Pontiac (I'm a Pontiac Indian)" src="https://pierreyvesclouin.fr/files/original/577741963a05a5152edc38c8a6c4f12c.jpeg" alt="" width="400px" /><br />
<p><br /><strong>you can see the movie at the bottom of the page</strong><br /><br />This film was shot during a <a title="Institut français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">Institut français, Hors les Murs Program (section film, video, cinema), arts residency</a> in Montreal, Canada, in the summer of 2010. The project is a chronological record, each scene engendering the next. Working without written notes of what I shot, I recorded over 10 hours of video merely keeping in mind that the order in which everything was filmed had provoked what I was currently shooting. Returning to Paris for editing, I sorted my footage in repeated viewings. I had to find an atmosphere, a rhythm, a current, from scene to scene, that seemed compelling, a flow that underlied the shooting. This binding element is like an arc that was built up slowly, as the project progressed. It is an arc that brings together two images that are strictly unrelated, and makes one follow naturally on the other — a group of men, for example, casting a sidelong glance at a passing police car on a bridge at night, followed by a human foot that seems to emerge from a tree trunk in broad daylight and kick in rhythm. With each viewing, I preserved only those scenes that seemed most closely to fit this arc and eliminated everything else, all the while preserving the exact chronology of the shooting sequence. What remans is 39 minutes of video in 73 scenes.<br /><br /><em>J’ai fait ce film durant une résidence <a title="Institut français" href="http://ifmapp.institutfrancais.com/residences#f2_6247" target="_self">Institut Français programme Hors les murs section Film vidéo cinéma</a>, à Montréal l’été 2010. Le projet est un enregistrement chronologique, chaque scène ayant engendré la suivante. Sans avoir de note sur ce que j’avais filmé, j’ai tourné une dizaine d’heures avec à l’esprit l’idée que l’ordre dans lequel tout était filmé provoquait ce que j’étais en train de filmer. Au montage en rentrant à Paris, j’ai fait un tri par passages successifs. Il a fallu retrouver une atmosphère, un rythme ou un flux qui semble s’imposer de lui même entre les images, flux qui était sous tendu au tournage. Ce liant, c’est comme une courbe qui s’est construite au fur et à mesure. Cette courbe fait que deux images qui n’ont strictement rien à voir — d’abord un groupe d’hommes qui observe du coin de l’oeil une voiture de police qui passe sur un pont la nuit et puis un pied qui semble sortir d’un tronc d’arbre et qui bat en rythme, le jour — que ces deux images donc se succèdent évidemment. J’ai gardé à chaque visionnement les images au plus près de la courbe et éliminé tout ce qui lui était étranger, mais en conservant l’exacte chronologie du filmage : Il reste 39 minutes en 73 plans.</em></p>
<p><strong>exhibitions and screenings of "Je suis un Indien Pontiac":</strong></p>
<p><strong>2010</strong></p>
<p><a title="art star biennal, ottawa" href="http://pierreyvesclouin.fr/items/show/111">Art Star Biennal</a>, Saw Galery, Ottawa, Canada (consultation)</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-10-10
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
Montréal
cars
city
day
fireworks
garden
Montréal
night
People
sky
street
-
https://pierreyvesclouin.fr/files/original/0c92ce888c1315a8e312d3e8691c5559.mov
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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
193705
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Duration
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Height
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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.)
00:01:00
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
<em>La baignoire</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-10-15
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
Montréal
Description
An account of the resource
<img title="La baignoire" src="https://pierreyvesclouin.fr/files/original/a3e02a28db6c8add1cdd885a7829d6bc.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong><br /><br /><br />extract from <a title=""Je suis un indien Pontiac" by Pierre Yves Clouin" href="http://pierreyvesclouin.fr/items/show/26" target="_self">Je suis un indien Pontiac</a>
bathtub
Montréal
night
People
reflection
street
-
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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.
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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.)
00:13:23
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
<p><em>Une fois Mars colonisée (</em>Once Mars Is Colonized)</p>
Description
An account of the resource
<img title="
Une fois Mars colonisée (Once Mars Is Colonized)" src="https://pierreyvesclouin.fr/files/original/20e1fd415303c5e9260bd71b394ee2de.jpeg" alt="" width="400px" /><br />
<p><strong>you can see the movie at the bottom of the page</strong><br /><br /><br />Once Mars is colonized, we must go to Alpha Centauri. - Ray Bradbury<br /><em>une fois mars colonisée, nous devons aller sur Alpha du Centaure. -</em> Ray Bradbury</p>
<p class="paragraph_style"><strong><span class="style_1">exhibitions and screenings of ” Une fois Mars colonisée”:</span><span class="style_3"><br /></span></strong></p>
<p class="paragraph_style"><strong>2012</strong></p>
<ul>
<li><a class="style_4" title="http://projectgreen2011.wordpress.com/" href="http://projectgreen2011.wordpress.com/">Project Green </a><span class="style_5">Screening, organized by </span><a class="style_4" title="http://nomadfilms.net/" href="http://nomadfilms.net/">Nomad Films </a><span class="style_5">, Althinsalen Theater at </span><a class="style_4" title="http://www.tekniskamuseet.se" href="http://www.tekniskamuseet.se/">Tekniska Museet</a><span class="style_5">, Stockholm, Sweden </span></li>
</ul>
<p class="paragraph_style_1"><strong><span class="style_5">2011</span></strong><span class="style_6"><br /></span></p>
<ul>
<li><a title="http://www.chicagofilmmakers.org/onion_fest/onion3_schedule.html" href="http://www.chicagofilmmakers.org/onion_fest/onion3_schedule.html"><span class="style_8">23rd Onion City Film and Video Festiva</span></a><span class="style_8">l, Chicago, Illinois, USA</span></li>
</ul>
<p class="paragraph_style"><strong>2010</strong><span class="style_2"><br /></span></p>
<ul>
<li><a class="style_8" title="http://nomadfilms.net/?page_id=236" href="http://nomadfilms.net/?page_id=236">“The Nomad Project,"</a><span class="style_8"> Access & Paradox Open Art Fair, Paris, France / Souvenirs From the Earth (TV), France </span></li>
<li><a title="http://www.agit-prop.com/prog10.pdf" href="http://www.agit-prop.com/prog10.pdf">Antimatter</a> Film Festival, Victoria, Canada</li>
</ul>
Date
A point or period of time associated with an event in the lifecycle of the resource
2010-04-04
Rights
Information about rights held in and over the resource
© Pierre Yves Clouin 2010
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
night
Paris
People
reflection
Shops
-
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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
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Duration
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Height
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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.)
00:05:26
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
<em>orage</em>
Description
An account of the resource
<iframe src="//www.youtube.com/embed/rZVDtew-Kkk" frameborder="0" width="420" height="315"></iframe>
<p>extract from <a title="crossing" href="http://pierreyvesclouin.fr/items/show/35" target="_self">crossing</a></p>
<p><strong>exhibitions and screenings of ” Orage”</strong>:</p>
<p><strong>2009 </strong></p>
<p><a title="Bref" href="http://www.brefmagazine.com/pages/20ans.php?id_video=9" target="_self">“Bref”</a> short film magazine on ligne</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2009-07-05
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
New York City, NY
cars
New York City
night
People
rain
-
https://pierreyvesclouin.fr/files/original/a5c3505165e49bc55f6c884524f24d54.mov
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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
113245
Codec
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Duration
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Height
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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.)
01:13:30
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
crossing
Description
An account of the resource
<img title="Crossing" src="https://pierreyvesclouin.fr/files/original/771639e6820cee38b41bb62dd9f9e568.jpeg" alt="" width="400px" /><br />
<p><strong>you can see the movie at the bottom of the page</strong><br /><br /><br />In New York streets</p>
<p><strong>exhibitions and screenings of ” crossing”: </strong></p>
<p><strong>2010</strong></p>
<p>Urban Research, curated by Klaus W. Eisenlohr, Director Lounge Contemporary Art and Media, Berlin, Germany</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2008-07-20
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
New York City
day
New York City
night
People
street
-
https://pierreyvesclouin.fr/files/original/5099dec8a2c390a6d4740fd11c494513.mov
dda7f16b697ddb53c3bda8df08b4ce8b
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
193397
Codec
H.264
Duration
70
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.)
00:01:10
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
<em>Limousine</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2007-12-01
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
Description
An account of the resource
<img title="Limousine" src="https://pierreyvesclouin.fr/files/original/9e60e6db396d74b7fd4dbfa28bb7db72.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong>
cloud
night
Paris
sky
-
https://pierreyvesclouin.fr/files/original/e8f53920c0c08db4898e20fb9cb09c75.mov
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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
198870
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Duration
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Height
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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.)
00:03:34
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
Carnissus
Description
An account of the resource
<img title="Carnissus" src="https://pierreyvesclouin.fr/files/original/be1460fbd7d4b6878b2debb292447215.jpeg" alt="" width="400px" /><br />
<p class="paragraph_style_1"><strong>you can see the movie at the bottom of the page</strong><br /><br />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</p>
<p><span><a href="https://pierreyvesclouin.fr/items/show/121">Ger Zielinski Short, Quiet and Disturbing On Recent Video Work by Pierre Yves Cloui</a>n</span></p>
<p><span>My first brush with Clouin was seeing his video <a title="Cul en l'air" href="http://pierreyvesclouin.fr/items/show/103" target="_self">MY LEVITATING BUTT (Cul en l'air)</a> (1997), a sharp short that shoots from tle hip and reveals several of the artist's concerns. Butt is composed of a single shot containing now and then part of the artist's body. The work opens with the actor/artist apparendy lying on the floor for a few moments nearly naked, clad merely in a skimpy jockstrap. He then slaps his butt and begins to levitate, legs curled up and hidden from the camera, exposing only his back, subtly bobbing upwards and magically tansforming into what appears to be the giant head of a fully erect penis, eventually escaping out of the top of the screen. The image is centred, symmetrical, simple.The body is Platonic in its self discipline, its certainty, its athleticism, its lean, taut muscles, always a pleasure to uncover, to view. The movement of the body across the frame is forever steady, precise. Nothing wasted, nothing extraneous. The sound is raw, from the studio in which the tape was shot, apparendy unmanipulated and direct. Thematically, the work addresses vision and the gaze through framing devices and the male body, but the accent is equally on the male figure and the representation of gay male sexuality. These elements return in various combinations and balances in Clouin's more recent work. On his artistic practice Clouin notes, “Alone in front of the camera, and without word, I spy on myself in the monitor during the action. I am double: seer and seen." This excerpt captures and accurately accounts for several elements characterizing his work. In particular, the strong, successful play with framing is reminiscent of Warhol's provocative film Blow Job (1963) in which only an actor's face and upper body are in view. The putative offscreen action is fellatio. From the tide and the actor's expressions and sounds the viewer is left to decide whether the action in fact took place. No visual closure to this simple narrative is offered. the action's factuality is left inderterminate. While Clouin's use of framing to create ambivalence and emotional tension sometimes ends in narative resolution, sometimes the ambivalence remains. another of many influences on Clouin's approach to relating his body and technological medium in Vito Acconci's work. The concern with acknoleging the medium itself through its most fundamental devices, such as a frame and direct sound, is common to both. Unsettling or disturbing the viewer by situating him as voyeur is also a strongly shared motif. However, one important difference between these video artists is that Clouin never speaks or verbally addresses the viewer directly. His work is largely visual in nature and quiet, with some direct environmental sound, but never spoken language. The wit inherent in his visual bodily play owes a little to the notion of <em>ostranenie</em> or making the banal strange, coined by the early Russian avant-garde. A riddle of sorts is often posed to the viewer before he even recognizes it as such a way as to mislead the audience into assuming they know what is displayed until the situation is carefully, subtlly changed, the framing is altered, the body is moved, to reveal the mistake, misperception, misunderstanding. A gentle but disturbing subversion of learned viewingng habits, lazy epistemologly.<br /></span>Both<span> </span><a title="cowboy" href="http://pierreyvesclouin.fr/items/show/97" target="_self">COWBOY</a><span> </span>(1998) and<span> </span><a title="diana texas" href="http://pierreyvesclouin.fr/items/show/90" target="_self">DIANA TEXAS</a><span> </span>(1999) I selected to be part of a program of artists' film and video called DRAGGED OUT: A STUDIED GLANCE AT CURRENT RADICAL DRAG (at Toronto's Pleasure Dome in 1999. The aim of the show was to inspect the outer boundaries of (radical?) drag mainly by artists. While neither of Clouin's tapes was intended as a drag tape, to be sure, they fit superbly in the program, perhaps for that very reason.<span> </span><a title="cowboy" href="http://pierreyvesclouin.fr/items/show/97" target="_self">COWBOY</a><span> </span>is a single shot of the kneeling artist's naked thighs, butt, and scrotum from behind, centred and in triangular stance with bright sunlight spilling into the studio before him and street sounds just barely audible. The viewer wonders what the actor is doing. Curiously sunning himself, urinating while kneeling, masturbating? He manipulates his scrotum with his hands, forming a silhouette of what may be discerned as bovine teats. Here it is not a question of crossdressing but of species crossing without any sophisticated camouflage but simply the actor/artist's body, light and camera. The movement and eventual revelation of feigned teats are droll and serve well Clouin's accompanying caption for this video, "In just a lonesome cowboy with gorgeous teats." In his<span> </span><a title="Diana Texas" href="http://pierreyvesclouin.fr/items/show/90" target="_self">DIANA TEXAS</a><span> </span>we see first a composition of the chest and hands of someone-in fact, the artist-lying in a t-shirt, apparently with breasts. The actor/artist lights a cigarette with a match, accompanied by raw sound. His hands begin to fondle the “breasts" erotically and in turn unscrew their tips and begin ringing them, which thereby reveals their practical nature as desktop bells. He then slides the breasts-bells around under his shirt while ringing them to a near visual and aural frenzy. With his glasses on he briefly peers into the camera, and finally readjusts the bells to better simulate once again a female chest to bring the tape to a close.<span> </span><a title="DIANA TEXAS" href="http://pierreyvesclouin.fr/items/show/90" target="_self">DIANA TEXAS</a><span> </span>seems a sort of feminist video, a veritable parody of straight male porn or more generally the representation of women and their objectification; here the feigned selferoticism as in pornography is merely posed for the camera and the inferred viewer/voyeur, but thoroughly disrupted by the excessive movement and ringing.<span> </span><a title="KANGAROO" href="http://pierreyvesclouin.fr/items/show/96" target="_self">KANGAROO</a><span> </span>( 1998) provokes the viewer through its impossible, unresolved nature, while<span> </span><a title="CARNISSUS " href="http://pierreyvesclouin.fr/items/show/93" target="_self">CARNISSUS<span> </span></a>(1999) continues the play with ambivalence but at the threshold of light.<span> </span><a title="KANGAROO" href="http://pierreyvesclouin.fr/items/show/96" target="_self">KANGAROO</a><span> </span>has its own curious pouch-ostensibly a human butt-which fills the screen and out of which toils arduously and incredulously a hand with heavybreathing on the sound track. The hand once outside reaches to lind some cloth near the camera lens and then flicks its fingers at the lens which signals the end of the video. An audacious example of a sort of reverse fist fuck, wittily turned inside out? The "butt" is so convincing that I am still unsure with which other body parts Clouin achieved such a fine simulation. I am left wondering and in wonder. With clear references to the myth of Narcissus and "carne" (flesh),<span> </span><a title="CARNISSUS" href="http://pierreyvesclouin.fr/items/show/93" target="_self">CARNISSUS</a><span> </span>lives at the edge, the threshold of light, of reflection. The video image is dark and difficult to discern but intrigues and holds the attention of the viewer. One hears water dripping, with added manipulation to achieve an echoing sound, supporting the theme of reflection. One also hears passionate kissing which one associates witl the shadowy figures inthe frame. One eventually recognizes the kissing partner of the male ligure as the figure's very own reflection in a mirror. The darkness of the screen, images nearly indiscernible, entices the viewer into prolonged voyeuristic activity, a drive to see, touncover, to witness, to know. One video that stands quite alone in Clouin's recent work is<span> </span><a title="Mon lapin bleu" href="http://pierreyvesclouin.fr/items/show/89" target="_self">HONNEY BUNNY (Mon lapin bleu)</a>(1999), breaking with a few of the artist's stylistic and structural devices. BUNNY is lighter in tone than the others, even whimsical. It opens with a shot of the actor, the artist himself, sitting naked on a stuffed toy bunny, crotch to crotch. He bounces in that position moving about the floor of the studio, perhaps simulating some frisky sex,which is then interrupted by the titles of the piece. The final (and humorous) shot is of the bunny as a top, mounting the actor/artist. Here Clouin's carnal perplexity and subtle framing are forsaken. The strange and banal mass-produced, interchangeable stuffed bunny in this video becomes a sex object, a children's toy, a fetish. Kinky, indeed.The brisk movement of the actor and bunny subverts the darker consequences of all this, but the subtext pointing to the commodification of desire and sexuality remains.<br />Reminiscent of the earlier Butt, among others, in depth and quality, Clouin's<span> </span><a title="THE LITTLE BIG " href="http://pierreyvesclouin.fr/items/show/11" target="_self">THE LITTLE BIG</a><span> </span>(1999) ranks as one of my favourites of his videos. This tape begins with the image of an apparent butt, sound the sound of a match being lit, and watersounds that may signify the setting of a bathroom. A hand caresses the butt, but also appears much larger in scale. With the heavy breathing we wonder what sort of sexual activity is being performed on the other, hidden side. Piquing our voyeuristic curiosity, we wonder about fellatio, masturbation, etc. The actor's dangling balls appear to jut visibly from the base of his butt. This action is sustained over a few seconds, allowing the viewer to become misled in his confident mechanisms of recognition, identiification and empathy. The butt unravels surprisingly into shoulder blades, balls into butt. Camera angle revealed. Assumptions destroyed. Match struck and cigarette lit.<br />Surveying several of Clouin's recent videos reveals a concise portrait of an artist and his work very successfully situated in traditions carved out by such artists as Warhol and Acconci, among others, but with important differences in approach to his medium and treatrnent of his thermes and concerns. Clouin pushes video art in avery reflexive direction. Not only is medium specificity, i.e. video as video, constant, but also the thematic concern with looking and the gaze. He constitutes the voyeur through his clever framing of his body and proceeds to dispel his assumptions, thereby making the banal ever so strange. Clouin'swork challenges and provokes the audience into seeing particularly the male body anew and more generally into rethinking our presumed and lazy habits of perceiving. Work truly short, quiet and disturbing. The way I Iike it.<br /><em>Ger Zielinski lectures on contemporary aenhetics and theories of art, film and new media work inthe School of Image Arts, Ryerson Polyechnic University, Toronto. He also lectures at universities and festivals in Europe and North America, and publishes criticism regularly in Paruchute and Lola, among other art mags. Ger curates for Toronto's Pleasure Dome.</em></p>
<div id="document-item-type-metadata-text" class="element">
<div class="element-text"><br /><br /><a href="https://pierreyvesclouin.fr/items/show/110"><span>Inrockuptibles</span></a><br /><a href="https://pierreyvesclouin.fr/items/show/110"><span>Art critic Nicolas Thély publishes a review of Switch 2, arte 1999</span></a><br /><em>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.</em></div>
</div>
<p class="p2"><br /><br /></p>
<p><em><a href="https://pierreyvesclouin.fr/items/show/108">Les nuits de la pleine lune</a></em><br /><em><a href="https://pierreyvesclouin.fr/items/show/108">Switch 2</a></em><br /><em>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</em><br /><em>LA SEPT ARTE</em><br /><em>Une année des treize lunes</em><br /><em>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 !</em><br /><em>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.</em><br /><em>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.</em><br /><em>Pierre-Yves Clouin</em><br /><em>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</em></p>
<p class="p2"><br /><br /><br /></p>
<p><em><a title="Carnissus" href="http://pierreyvesclouin.fr/items/show/93" target="_self">Carnissus</a>(3'34" - 1999)</em><br /><em>"Autoportrait" au plus près de l'émoi permanent transmis par les icônes vidéograhiques de Pierre Yves Clouin,"Carnissus" nous livre la crucialité de l'œuvre en miroir et de son écho perdurant dans notre inconscient collectif. Au commencement était le désir. Narcisse contemporain, Pierre Yves Clouin se penche sur l'oral de la langue, vecteur amoureux de la prédestination du baiser, à l'origine de la parole et de l'altérité. L'innommable prend place dans la représentation rythmiquement plastique de la pulsation cardiaque, du souffle ténu reliant le portrait à l'autoportrait, le désir au désir, la chair à la chair et l'alter à l'ego. Pierre Yves Clouin plonge dans les tréfonds de l'œuvre absolue, auto-érotisme de l'engagement charnel et de son authenticité. L'objectif cadre au plus serré le visage intérieur de l'artiste jusqu'à l'adoration vorace et l'introjection carnivore. Cette œuvre de Pierre Yves Clouin inscrite au cœur du désir, assume l'enjeu possible de la perte, prenant le risque d'y laisser sa peau. Pour qui l'écoute, elle nous dit que le désir se nourrit de lui-même, que l'amour est aussi son propre bourreau et simultanément son rédempteur.</em><br /><em>Fondu au noir.</em><br /><em>Pierre Yves Clouin a élu domicile en lui-même. L'engagement physique de son métier d'artiste le place hors de portée de toute exclusion exogène. Ainsi, œuvrant en extrême liberté, sa manipulation subtilement acquise et vaillamment performante du médium vidéographique, lui permet d'atteindre sa "disparition hors cadre" - parachèvement de son œuvre - afin de nous inviter à tirer parti de nous-même : être auteur de notre vie ou bien y renoncer.</em><br /><em>À quel prix ?</em><br /><em>L'œuvre vidéographique de Pierre Yves Clouin ne s'expose pas, on l'emmène avec soi.</em><br /><em>Paris, le 10 septembre 2000</em></p>
<p><em><strong><a href="https://pierreyvesclouin.fr/items/show/131">Pierre Yves Clouin ou le pacte charnel par Marianne Valio</a></strong></em><br /><em>Marianne Valio</em><em>, Chargée de mission au Département de la Coopération, de l'Ingénierie et au Développement Culturels, Pôle Résidences, programmes de Recherche et de Création, à l'Association Française d'Action Artistique (AFAA), Ministère des Affaires Etrangères.<br /></em>Publié dans un portrait de Pierre Yves Clouin, “Turbulences vidéo,” #29, automne-hiver 2000 (Clermont-Ferrand, France).<br />© 2000 Marianne Valio / Turbulences vidéo</p>
<p class="paragraph_style_6"><span class="style_5"> </span></p>
<p class="p2"><span class="s1"> </span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1999-04-26
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
night
-
https://pierreyvesclouin.fr/files/original/0b5c9c338345ec99748d266457ccc4f1.mov
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Duration
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Height
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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
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dv
Duration
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00:01:05
Director
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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
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Los Angeles
Date
A point or period of time associated with an event in the lifecycle of the resource
1999-07-16
Rights
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© Pierre Yves Clouin
Type
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MovingImage
Coverage
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Paris
Description
An account of the resource
<img title="LosAngeles" src="https://pierreyvesclouin.fr/files/original/7d24a7f9b4340a4075cfb6e38e34021c.jpeg" alt="" width="400px" /><br /><br /><strong>you can see the movie at the bottom of the page</strong>
head
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https://pierreyvesclouin.fr/files/original/21358d97af9b714b1d8120918d037d2f.mov
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Omeka Video File
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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
Iphone cam
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00:03:19
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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
<img title="Blob" src="https://pierreyvesclouin.fr/files/original/469facef10dd4d9112dc5fd3413bf61a.jpeg" alt="" width="400px" /><br />
<p><strong>you can see the movie at the bottom of the page<br /><br />exhibitions and screenings of "Blob":</strong></p>
<p><strong>2015:</strong></p>
<ul>
<li><a title=""Blob" by Pierre Yves Clouin in Exploding cinema" href="http://pierreyvesclouin.fr/items/show/683">Exploding Cinema at Ivy House</a>, London, UK</li>
</ul>
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-05-03
Contributor
An entity responsible for making contributions to the resource
Musique © Joseph Langley
Rights
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Musique © Joseph Langley
Images © PY Clouin
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Paris
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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/.
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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.
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4k
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00:03:11
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Pierre Yves Clouin
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Paris Moon
Description
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<iframe src="https://player.vimeo.com/video/279138767" frameborder="0" width="640" height="360"></iframe>
<p><em>La lune et Paris</em></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-08-05
Rights
Information about rights held in and over the resource
© PY Clouin
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Moving Image
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Paris
moon
night
Paris