VOLUME is pleased to present Presence,  an afternoon of immersive sound, video, and durational performance work at the Torrance Art Museum on June 26, 12-5pm. Presence plays with the multiple meanings of the title to contextualize divergent practices by a unique selection of artists all working across a spectrum of time based media, whether it is video, sound, durational performance, or installation.

Artists include Jen Boyd (audio performance), Frank Bretschneider (screening), Jeff Cain & Mark Steger (collaborative video performance/installation), Heather Cassils & Kadet Kuhne (sound and durational performance), Richard Chartier (sound element), i8u & Cédrick Eymenier (audio/visual performance), Monique Jenkinson (video screening), Marc Manning (audio/visual performance), Mem1 (audio/visual performance), A.B. Miner (film screening), Yann Novak (audio performance), Adam Overton (durational performance), Taisha Paggett (durational performance), Semiconductor (video screening), Sublamp (audio/visual performance).

> live screening of Event Horizon (v35')
film by Cedrick Eymenier
music by i8u

PRESENCE June 26, 12 - 5 pm
Torrance Art Museum (California, USA)


curator - Mo Gourmelon
In this selection of French films, made for the most part by young directors already recognized on the national and international scene, the notion of strangeness is developed through images which waver between documentary and fiction. Porous boundaries between contemporary art, performance, cartoon and film are involved. A relation to the city and architecture is woven by way of strolling, chance, memory and dream. In a combination of pictures and sounds, a certain swaying quality lends these images a general impression of floating. In this context, the deliberate absence of sounds underpins the strangeness all the more. 

with Laetitia Benat, Benoit Broisat, Cédrick Eymenier, Eléonore de Montesquiou, Cécile Paris, Fabien Rigobert, Raphaël Zarka.

> screening of Platform #02 London, 2007
film by Cedrick Eymenier
music Motion & Sogar

It is when I am walking around and discovering the cities that I film or photograph that I make my choices. The decision to stop at a given spot to shoot is usually prompted by something that suddenly captures my attention. I like the reflection to be intrinsically linked to a point of view, because it requires that the camera be placed in a precise place. A reflection allows you to multiply space, like a Cubist readymade. It also means you don’t have to be standing opposite what you want to film, which is very convenient. The omnipresent reflections of modern cities (glass buildings, shop windows, the coachwork of cars and public transport, etc.) make it possible to juxtapose spatially remote elements in a single image. C.E.  

SURREAL, Contemporary French VideoArt
NCAA, National Center for Contemporary Arts
Ekaterinburg (RUSSIA)
16 + 17 june 2010, 19:00