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follow these links for information on screenings in 2000 and 2001
for information on latest screenings of Pierre Yves Clouin's work, go to our front page
16th MIX NYC
Clouin's "Le Château" (2002, photo right) and "Thé au riz" (2002, photo bottom) premiered at the 16th MIX NYC festival, Nov. 20-24, at Anthology Film Archives.
Clouin's "Strong Enough" (2001) also screened at the the festival.
Clouin's "A Perfect Day" (2002) was screened in a sneak preview program of shorts—entitled From Mix With Love: Speculation, Reverie & Utopia—from the 16th MIX NYC, at Ocularis, Galapagos Art and Performance Space, Brooklyn, on Sunday, Nov. 17.
With work by Kerstin Cmelka, Michael Barry, Ethan Eunson-Conn, Kim Wyns, Emily Vey Duke & Cooper Battersby, Matthew Stenerson, Kasumi, Simone Moir & Chantal Rousseau, Joshua Thorson and Meredith Holch.
Clouin's "Strong Enough" (2001) was selected for the 14th Onion City Experimental Film and Video Festival in Chicago, at Chicago Filmmakers, Nov. 15-17.
Astria Suparak's new program of video art entitled Adolescent Boys, And Living Rooms that features Clouin's "The Little Big" (1999, Official Selection Sundance 2001), was curated for Mexico City's Museo Tamayo Arte Contemporáneo.
She presented the program—which includes work by Animal Charm, Messieurs Delmotte, Jim Finn, Harrell Fletcher and Jon Rubin with Anthony Powers, Miranda July, Ted Passon, Jennifer Reeder, and Jon Leone—on Nov. 15, at the museum as part of its "Panorámica" video initiative.
Pierre Yves Clouin's "My Levitating Butt" (1997) was screened at the 43rd International Thessaloniki Film Festival (Nov. 8-16, Thessaloniki, Greece), in Orgasmic Cinema, a series of special programs presented by Athina Rachel Tsangari and Spencer Parsons of Cinematexas.
Clouin's "Strong Enough" (2001) was presented at the 13th Hamburg International Lesbian & Gay Film Festival, October 15 to 20.
A cycle of Clouin's videos—"Workman" (1998), "Kangaroo" (1998, photo), and "The Little Big" (1999)—were featured in the October 9 opening of Xtensions ou le sampling corporel, an exhibition on view October 2-29 at Paris's Glaz'art as a prelude to the city's lesbian and gay film festival. 
Clouin's "Insert" (2000) also screened nightly during the exhibition.
Two videos by Clouin, "Panda Man" (2001, top photo) and "Tutu et chapeau pointu" (2001, bottom photo), premiered in the 6th Unimovie festival, themed the "Moving Image Container," 
in Pescara, Italy, October 2-6. Clouin's "There (2001) also screened in the festival's International Exhibition of New Images.
A new video by Clouin, "A Perfect Day" (2002, photo), screened in its world premiere at the 7th Cinematexas International Short Film Festival in Austin, Texas, in a special program on September 21. Clouin's "Strong Enough" (2001) also screened at the festival in the International Competition program 1 "Animal Show" on September 19 and 22. The festival ran from September 17 to 22.
Five works by Clouin were screened at the 8th Philadelphia International Gay and Lesbian Festival, July 11-22: "Model" (2001), "Built to Survive" (2001), "Shadow Box" (2000), "The Final Touch" (2000), and "Honey Bunny" (1999).
Pierre Yves Clouin's "Model" (2001) was screened in the Outfest 2002 Platinum Shorts program on July 16 at The Director's Guild of America Theater, Los Angeles. The festival ran from July 11-22.
Clouin's "Flying Sculpture" (2000) was included in a program of eleven short films and videos selected as highlights from the 2001 MIX: New York City Lesbian/Gay Experimental Film/Video Festival that screened on June 28, in Toronto. Other works featured were "G-Sprout!" by Mirha-Soleil Ross, "My Life In Dance" by Roy Mitchell, "Music Might Have Deceived Us" by Chris Chong, "Porno-Tubbies" by Ian Jarvis, "Eels" by Patty Chang, "Mammoth" by Barbara Malaran, "K.I.P." by Nguyen Tan Hoang, "I Am..." by Jeanine Olson, "En La Madrugada" by Aurora Guerrero, and "Minnesota Mean" by Dean Otto & Marjie Thieman. The screening was co-sponsored by The Images Festival of Independent Film & Video and Pleasure Dome.
Clouin's "Shadow Box" (2000) was screened at the Herbst Theatre on June 14, and at the Castro Theatre June 20, during the 26th San Francisco International Lesbian and Gay Film Festival, June 13-30.
Five videos by Clouin were screened at the 2nd Annual Flaming Film Festival presented by Intermedia Arts in Minneapolis, Minnesota, May 1-6: "Honey Bunny" (1999), "The Final Touch" (2000), "Broom Ballet" (2000), "Shadow Box" (2000) and "There" (2001).
Clouin's "Built to Survive" (2001) was screened in the 12th Internationales Bochumer Videofestival in Bochum, Germany, on April 27. The festival ran April 25-27.
"Honey Bunny" (1999) and "The Final Touch" (2000) were screened April 5 at the National Film Theatre, in the London Lesbian and Gay Film Festival. The festival ran April 3-17 and was organized by the British Film Institute.
Clouin's "Honey Bunny" (1999) and "The Little Big" (1999) were screened in the Melbourne Queer Film Festival, which ran from March 14-24.
Clouin's "Cul en l'air" (My Levitating Butt, 1997, photo) was screened in the inaugural program of an eclectic new arts series entitled "Cheap" at Berlin's Podewil Center for the Contemporary Arts on March 7, 2002. Curated by Podewil 2002 Artist-in-Residence Marc Siegel, Susanne Sachße, and Daniel Hendrickson, the program featured performance, dance music, film and video. Other participants included Antonia Baehr, William Wheeler, Tscheap Tschechow, Alicja Zebrowska, George Kuchar, William Hein, DJ Nancy, Nina Thorwart, and Annette Frick.
"sexiness which is everything but straight... lesbian, gay, transgendered, transsexual, bisexual, intersex, hermaphrodite, s/m, and of course... best of all... self love. happy st. valentines day!"
- Maïa Cybelle Carpenter
Clouin's "My Hands Are Shaking" (2001, photo) and "Honey Bunny" (1999) 
were screened February 14, in San Francisco, in a special St. Valentine's Day event entitled "Tunnel of Love" curated by Maïa Cybelle Carpenter. The program included works by Nguyen Tan Hoang, Mirha Soleil Ross, Peggy Ahwesh, Tejal Shah & Anuj Vaidya, Cindy Birkhead, Teri Rice, Amber Horning & Kat Pankam, Yoshie Suzuki, Maïa Cybelle Carpenter, Tobaron Waxman, Liz Miller, Maria Beatty, with 16mm surgery films supplied by Craig Balwin and Stephen Parr of Oddball Productions.
Clouin's "Flying Sculpture" (2000) was presented in the 15th Stuttgart Filmwinter Festival for Expanded Media, held at the Stuttgart Filmhaus and other venues, January 10-20.
Pierre Yves Clouin's work was featured in two programs in "NonStopMedia," a video and media art series coordinated by Svetlana Ostrova at PRO ARTE Institute in St. Petersburg, Russia. "Performance and Video in Contemporary Art" (November) and "Video and Artistic Actionism" (December) were curated by Olga Shishko of Moscow's MediaArtLab Center of Arts and Culture. The programs included videos by Vitto Acconci, Bruce Nauman, Hartmut Jahn, Isabel Martin, Pia Vergius, the Blue Noses (Sinie Nosy) group, John Wood and Paul Harrison, Joseph Rotakovski, Platon Infante, Alexei Isaev, Oleg Mavromatti, Vyacheslav Mizin, Svetlana Baskova, Konstantin Skotnikov, and others.
updated 27 December 2002
Pierre Yves Clouin's "We Cannot Exhibit It" (2002) premiered at the 38th Annual Chicago International Film Festival, where it was awarded a Certificate of Merit, the only prize in the festival's Experimental Shorts Competition. "We Cannot Exhibit It" was featured in the Offbeat Shorts program; the festival ran from October 4 to 18, 2002.
updated 30 October 2002
Pierre Yves Clouin's "Strong Enough" (2001, left) won the prize for Best Musical (jury: Ximena Cuevas, Greta Snider, Stephanie Gray) and an Audience Choice Award in its premier screening at Thaw02, Festival of Film, Video and Digital Media. 
Organized by the University of Iowa's Institute for Cinema & Culture in Iowa City, Iowa, the festival ran from April 11-13, 2002. Clouin's "Scene of the Crime" (2001, right) also premiered at the festival.
Anecdotal Evidence by Margaret Schwartz
[...] This year's Thaw had humor and style [...] My first prize for a video with intelligence, pathos, and wit goes to Strong Enough, by Pierre Yves Clouin. The video consists of one full minute of a beetle of some sort, perhaps what Midwesterners call a June Bug, struggling to right itself. It is an accident of these creatures' physiognomy that once flipped onto their large backs, it is very hard for them to get enough leverage with their tiny legs to flip back over. You've all seen it. But did you really look?
Strong Enough affords the pleasure of detail and the excitement of rediscovery: sitting silently in the dark with this enormous moving image as the only distraction, the audience was forced to observe tiny movements of the legs, to hope anxiously for a resolution which of course never comes. It wasn't long before certain members of the audience started to laugh, because it's funny, somehow, sitting there silently rooting for this bug. And, unlike many of the filmmakers who used their space for pompous intellectual explications of work that should have been self-explanatory, Clouin used his program blurb perfectly. He wrote: "I don't need your sympathy." Even without this suggestive comment, we would have laughed because the beetle clearly didn't care if we were watching, wasn't capable of playing it for the camera (God forbid). One could imagine a cartoon version of the same idea done on Sesame Street, but the real "face" of the beetle, which is to say its animal impassivity, lent its actions a certain dignity. It was fantastic: short, simple, and brilliant. [...]
- Margaret Schwartz, PopMatters.com © 2002
updated 27 October 2002
After premiering at New York's Anthology Film Archives in October 2001, "Dirges and Sturgeons" toured the US in 2002, was back on the road in the spring. Curated for Anthology by Astria Suparak, the program includes work by Animal Charm, Lawrence Elbert, Bjorn Melhus, Pierre Yves Clouin, Jacqueline Goss, Miranda July, Seth Price, and others.
Clouin's "The Little Big" (photo), selected for Sundance 2001, was featured in the show.
Curator Astria Suparak describes these videos as presenting futuristic or high-tech ideas "in a lo-fi way," and the best entries are both simple and conceptually subtle in their approaches to gender. Pierre Yves Clouin continues to explore the male body in The Little Big (1999), a single take in which a crack that appears to be buttocks in shadow is revealed to be something more erotic. In Lawrence Elbert's Whitney: Mama's Little Baby (2000) a drag queen drinks from a bottle in a paper bag and delivers a solipsistic and rather pathetic monologue to the camera. The theme of self-entrapment is echoed in The Magic Glass (1991), as video maker Bjorn Melhus speaks to his feminized image on a monitor while shaving himself.
On the same program, which runs about 58 minutes: work by Jacqueline Goss, Miranda July, Seth Price, and Animal Charm.
- Fred Camper, Chicago Reader Online © 2002
For complete information on the tour, the program, and the press it has received, see astriasuparak.com. For booking, e-mail Astria Suparak.
updated 29 March 2003
excerptsfrom festival programs and exhibition catalogues
(c) their authors and/or publishers
Pierre Yves Clouin
www.c-x-p.net
