Zavod Sploh

Rhythms Of Presence

Ritmi prisotnosti_Errant Bodies_Berlin
Ritmi prisotnosti_Errant Bodies_Berlin
Brati stanleyja brouwna
Brati stanleyja brouwna
Brati stanleyja brouwna_metronom
Brati stanleyja brouwna_metronom
Neslišano_Galerija Škuc, Ljubljana_foto: Dejan Habicht
Neslišano_Galerija Škuc, Ljubljana_foto: Dejan Habicht
Z mimoidočimi_Benetke
Z mimoidočimi_Benetke
Z mimoidočimi_Benetke
Z mimoidočimi_Benetke
Artistic research project
Author: Tao G. Vrhovec Sambolec

Heredrum (2014)
Rhythms of presence (2015)
Reading stanley brouwn (2015–2016)
Unheard (2016)
With a Passerby (2016)

Artistic research project Rhythms Of Presence focuses its attention on the (in)visible manifestations of bodily presence as an acoustical and temporal  phenomenon.Through the process of capturing the rhythms of everyday steps or listening to an ambiance of a place in order to re-articulate and displace them in various ways, this project explores the poetic, aesthetic and philosophical potentialities of the omnipresent infra-ordinary rhythms of everyday life.
Bringing these rhythms to the fore in the settings of several rhythmical, sonic and spatial situations, hybrid places of intersection between presence and absence, concrete and abstract, here and somewhere else are established.

Rhythms of presence

The installation Rhythms of Presence is comprised of two large floor surfaces. One is discretely installed at an undisclosed location and the other in the exhibition space. They are identical in size and shape. The floor surface at the undisclosed location is sensing human steps, transmitting their temporal and spatial information to the exhibition space, where a grid of mechanical knockers from below the floor surface is invisibly tapping the rhythms of the remotely detected steps and following their paths. Focusing solely on rhythms and paths of everyday walking, the installation Rhythms of Presence aims to capture the invisible aspects of walking and investigate how they contribute to constituting presence, temporality and spatiality. 
Displacing and superimposing the walking rhythms and paths of one place to those of another, the installation creates a hybrid and asymmetrical space where two simultaneous present times and presences interfere. A floor that becomes unknowingly performative and a floor that echoes steps from an unknown origin together form an open unsitely space that is both here, somewhere else and at the same instance nowhere and in-between. Stepping in this space one inhabits a concrete, yet un-mappable and disoriented territory.

Software and hardware development: Mr. Stock Interfaces
Carpenters: Seamus Cater, Bill Earwaker (Berlin), Ales Bracovic Strmec (Ljubljana)
Sponsors: Future-Shape GmbH. Tremba GmbH, Showbots Engineering Gmbh
Thanks to: Robocross Berlin | James Beckett

20.11.–15.12.2015, galery Errant bodies Berlin, Germany
1.–21.9.2016, Rom8 Project Space Bergen, Norvey
18.11.–9.12.2016, Galerija ŠKUC, Ljubljana

Reading stanley brouwn
The work entitled Reading stanley brouwn addresses the theme of everyday walking, measuring, archiving, reading and rhythmic temporality.
By way of reading the artistic book my steps 12.12.20051.1.2006, the project establishes a relationship with the opus of the conceptual artist stanley brouwn (Suriname/Netherlands), whose many works address the (im)measurability and materiality of the distances and their archivisation through the process of counting his own steps.
The project contains three elements the book my steps 12.12.2005–1.1.2006 of the artist stanley brouwn, an action of Tao G. Vrhovec Sambolec, and an installation which repositions the book and the action “in the now” as an unclear and elusive rhythmical instruction, suggestion, norm or support for movement, reflection or listening.
The book consists of twenty-one pages, each page having the date and the number of steps printed on it. Sambolec reads it in a way that in the period of twenty-one days (from 1.2.2016 – 21.2.2106), on each day he walks precisely the prescribed number of steps, simultaneously recording their rhythms. The installation consists of the book and a modified metronome which ticks in the recorded rhythms of Sambolec’s steps.
Through the activity of inscribing the text into his own body, Sambolec inhabits brouwn’s archive with his own presence. The measured-out walk makes concrete the printed number of steps by bringing them back into the everyday, from which they have originated. If brouwn’s archive points to a walked distance and thus invites the reader to imagine this distance, of which the measuring unit is an unknown variable, Brouwn’s step, then Sambolec’s reading transposes this (un)defined distance into the dimension of time — into rhythm and duration.
The recorded time of the steps constitutes a new invisible digital archive of rhythms, whose variations echo Sambolec’s walked path, his intentions, as also his spatial and social bearings. And like brouwn’s, this archive too is imperfect, abstract, directionless, ambiguous and open.

Software and hardware development: Mr. Stock InterfacesSoftware development: Slavko Glamočanin
Thanks to: Robocross Berlin | James Beckett, MSUM Ljubljana
1.–13.9.2016, Lydgalleriet Bergen, Norvey
10.–13.3.2016, Anarchic Infrastructures Amsterdam, Netherland
18.11.–9.12.2016, Galerija ŠKUC, Ljubljana
1.5.–2.7.2017, Research Pavilion: "Utopia of Access", Benetke, Italy
2.7.–31.10.2017, Reassembly, Tinos Quarry Platform, Tinos, Greece
16.11.2018–16.1.2019, "Bijeg" "Escape", MMSUM Reka, Croatia


Installation Unheard consists of a microphone, a clock and a custom made software that resets the clock to zero every time it detects a sudden peak in loudness of the sonic ambiance of the place where it is installed.  
Listening to the ambient sound and displaying the passing of clocked time between occurring auditory events, the installation articulates the relation between the measured time and the time as it is being experienced.   
This setting invites the visitors to focus on listening along and to explore their own margins of hearing and attention, while it is suggesting a shadow temporality unfolding in the intertwining zone between the representation and the experience of the passing of time. A zone so lucidly outlined by Giorgio Agamben in his essay The Time That Is Left (2000):

“(…) if we represent time as a straight line and its end as a last point on it, then we have something perfectly representable, but absolutely unthinkable.
On the other hand, if we try to grasp our living experience of time, then we have something thinkable, but strictly non-representable.”

Software development: Vasja Progar

1.–21.9.2016, Bergen Public Library – Café Amalies Hage, Bergen, Norvey
18.11.–9.12.2016, Galerija ŠKUC, Ljubljana

With a Passerby

In the installation With a Passerby two crosswalk loudspeakers are sounding rhythms Sambolec has recorded during a walk in a city. One speaker is playing back the rhythms of Sambolec’s footsteps and the other one is playing back the rhythms of steps of people passing by, that Sambolec was observing, marking them with his voice and recording.
Installation brings to the fore the hidden rhythmical relation of the steps of two strangers walking by each other on a street in an urban environment, articulating and highlighting this moment of encounter without contact as a rhythmical non-event.
Combining the elements of aimless walking, observing strangers and random encounters, this project alludes to the figure of flaneur as it is epitomized in the poem by Charles Baudelaire “To a Passerby”. Here the poet describes an emotion of falling in love with a passerby that he will never see again. A dramatized and affective random encounter that Walter Benjamin describes as “love – not at first sight, but at last sight”.
Contrary to this fascination, the present project does not seek for emotional investment and relation towards a random passerby, but is rather focusing on the listening to the hidden rhythms that occur during usually unnoticed and unexperienced encounters that are taking place in everyday situations on the street. Sounding these uncoordinated rhythms the installation is amplifying the moments of passing by as occurrences of non-contact, non-attention, non-communication and non-synchronization.

18.11.–9.12.2016, Galerija ŠKUC, Ljubljana
6.–13.5.2017, COMMAND-ALTERNATIVE-ESCAPE, Garden Thetis Venice, Italy
3.–18.6.2017, Struer // Tracks, Struer, Danmark

Producers: Zavod SPLOH, Ljubljana, Zavod Projekt Atol, Ljubljana
Partner: Galerija ŠKUC, Ljubljana

Sound intervention in public space

Heredrum trains its attention on the imperceptible and hidden rhythms of everyday walking by observing, capturing, and performing these rhythms where they occur. The intervention exposes the everyday step as a contact point between foot and ground that embodies the relations between body, space, inner mental state, and social life. An event that is both a personal strongly felt yet largely unnoticed sensation, and a public manifestation of presence.
The work involves a group of ten or more drummers with snare drums attached to their waists, which walk into a populated public square during an afternoon, spreading out evenly in a large formation. Each drummer focuses on the steps taken by a random passer-by, hitting their snare each time the passer-by’s foot hits the ground until they leave or are out of sight; the drummer then pauses for a short time only to focus on another passer-by.

17.9.2014, Bergen, Norway
3.–18.6.2017, Struer // Tracks, Struer, Danmark
5.–6.6.2019, Exchanges and Misunderstandings Performance Program,The National Gallery of Arts, Tirana, Albania

Producers: Zavod SPLOH, Ljubljana, Zavod Projekt Atol, Ljubljana

Artistic research project Rhythms of Presence was carried out under the Norwegian Artistic Research Programme at Bergen Academy of Art and Design – KHiB (2013–2016)

Andrej Tomažin: Ritmičnost (politične) praznine, Odzven, 14.12.2016
Vladimir Vidmar: Tao G. Vrhovec Sambolec: Ritmi prisotnosti, galerija Škuc
Saša Hajzler: Ritem prisotnosti, Radio Študent, 5.1.2017

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