OBJKT#430056

OBJKT#430056

created by jimpunk.com / @llllll__lllllll
October 2021

OBJKT#430056_punk-093
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#punk 093 magnetic ::: animated #gif

Igor Štromajer
└⦿✚⦿┘
intima.org/o-o

a=tF² · panke.gallery · Berlin

=tF²
solo exhibition by Igor Štromajer

panke.gallery, Berlin
curator: Sakrowski

opening: Saturday, 9 October 2021 at 7 pm
exhibition: 9–30 October 2021

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a=tF²
To find the art (a), you multiply the time (t) by the square of the force (F²).

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“Watch out for false artists. They come to you in artists’ clothing, but inwardly they are lifeless algorithms.”
Mathview 7:15

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• panke.gallery FB Event
• FB Photo Album

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panke.gallery
Gerichtstraße 23
Hof 5
13347 Berlin Wedding

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opening hours: Wednesday – Saturday | 3 pm – 7 pm

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NETescopio • Algoritmia

Algoritmia | Art in the era of AI
MEIAC (Extremadura and Ibero-American Museum of Contemporary Art)
Badajoz, Spain, 19 February – 2 May 2021
Curator: Gustavo Romano

Publication of the catalogue: September 2021

Some NETescopio artists (Arcángel Constantini, Giselle Beiguelman, Maite Cajaraville, Belén Gache, Daniel García Andújar, Eduardo Kac, Igor Štromajer), pioneers of net art, were invited to answer the following question:

Q: “We live immersed in an irreversible digitalization process that has accelerated during the last 25 years, with the appearance of the WWW. We have seen the emergence of a whole series of complex dynamics derived from the actions of new human-technological assemblages, artificial intelligence and new algorithms that regulate all types of exchanges. In the field of art, technology should no longer be considered as a production tool, but as the environment within which works are produced.
In this context, what do you think that have been the most defining changes in these 25 years? How do you experience them as an artist and how do they affect your production? What differences do you find between creating in the late 1990s and creating now?”

iinet Continue reading “NETescopio • Algoritmia”

openar.art ⇢ Cube.Zero

openar.art
platform launch & group show
panke.gallery, Berlin

opening: 29 August 2021, 3–10 pm
exhibition: 29 August – 14 September 2021
(open: Wednesday–Saturday, 3–7 pm)

artists:
Alexandra Leykauf, Alessandro Valentino, Christin Haupt, Dirk Paesmans, Esben Holk, Hannah Rumstedt, Igor Štromajer, Jelena Viskovic, Jeremy Bailey, Joachim Blank, Milena Zuccarelli, Tamás Páll, Tereza Havlíkova, Tuğçe Yücetürk, Wiebke Hurrelmann & t.b.a.

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panke.gallery
concept: Sakrowski / Jeremy Bailey
coding: Vincent van Uffelen
design: Larissa Wunderlich
poster/batches design: Anna Luise Lorenz
infrastructure: !Mediengruppe Bitnik
contributors: Ela Kagel, Noemi Garay

Cube.Zero

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ŠTROMAJER 1996 – SAKROWSKI 2021
Dimensions: 1m³ (1×1×1 m)
Edition of 3
Price: € 3000

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In 1996, Štromajer used an animated gif of a spinning cube in his first net art work 0.html. 25 years later, Sakrowski reprogrammed and remodeled it into an augmented reality artwork.

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On the occasion of the launch of the new platform openar.art, panke.gallery presents a hybrid group exhibition with experimental Augmented Reality works. The open platform makes it easy to exhibit, collect and discuss Augmented Reality works and allows artists to sell their works as NFTs. Since the platform is organized as a cooperative, profits will be shared among the artists. As part of the project openAR, the exhibition and platform have been developed in collaboration between workshop participants and digital artists Jeremy Bailey, Sarah Buser and Tamás Páll. The works examine the possibilities of AR technology in artistic applications. Visual, acoustic and performative Augmented Reality formats can be experienced in the exhibition.

Supported by Neustart Kultur & Canada Council for the Arts

Toyota

Toyota – Beyond Good and Evil
radiophonic a=tF² (from 1993)
Radio Slovenija, Program Ars
Monday, 19 July 2021 at 22:05

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Toyota – onkraj dobrega in zla
radiofonska a=tF² (iz leta 1993)
Radio Slovenija, 3. program, Program Ars
Ponedeljek, 19. julija 2021 ob 22:05

Authors: Bojana Kunst & Igor Štromajer
Reader: Blanka Hohnjec
Master of Sound: Branko Kosi
Producer: Gabrijela Lučka Gruden
Production: Cultural and Artistic Programme of Radio Maribor / Kulturno-umetniški program Radia Maribor, 1993
Duration: 30 min

REALIZE! RESIST! REACT!

REALIZE! RESIST! REACT!
Performance and Politics in the 1990s in the Post-Yugoslav Context
SPOZNANJE! UPOR! REAKCIJA!

24 June – 3 October 2021
Moderna galerija Ljubljana, Museum of Contemporary Art Metelkova (+MSUM)

Curator: Bojana Piškur
Guest curators: Linda Gusia | Jasna Jakšić | Vida Knežević | Nita Luci | Asja Mandić | Biljana Tanurovska-Kjulavkovski | Ivana Vaseva | Rok Vevar | Jasmina Založnik

Jasmina Založnik o razstavi Spoznanje! Upor! Reakcija!
Rok Vevar o razstavi Spoznanje! Upor! Reakcija!

Eros Ars System – theatrical installation by Bojana Kunst & Igor Štromajer 
actors: Petra Govc, Polona Juh, Rastko Krošl, Boris Mihalj
Gledališče Glej | The Glej Theatre, Ljubljana 1990
Photo: Bojan Golčar

The research and mapping project of political performance of the 1990s seeks to shed light on what political performance actually was in the post-Yugoslav context. Specifically, what did performance, then an already established art form in the Western world, bring to, mean, or change in the broader field of art of the 1990s? Can one actually talk about “performance beyond the political”?

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ON.KRAJ/BE.YOND – intimate performance by Bojana Kunst & Igor Štromajer
performer: Nika Ločniškar
Kapelica Gallery, Ljubljana 1997
Photo: Bojan Golčar

What is evident in the Slovenia of the 1990s is the absence of emancipatory left-wing politics, a growing marginalization of the working class, and civil society’s inability to reform as a motor of new politics, to shake off the logic of its 1980s struggle and rise above the horizon of neoliberalism.

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Igor Štromajer: Homo Theatralis
CID, Stari Glej, Ljubljana 1989

One of the questions raised by our research was whether a withdrawal into the apolitical (even in art) is ever possible in a complex political environment.

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Igor Štromajer: Homo Theatralis
CID Ljubljana, Stari Glej 1989
Photo: Franjo Štromajer

Participants:
Arkzin | Art Publishing group (Bojan Bahić & Sanda Hnatjuk) | Autonomna tvornica kulture – Attack! (Autonomous Cultural Center – Attack!) | Maja Bajević | Damir Bartol Indoš | Aleksandar Battista Ilić, Ivana Keser, Tomislav Gotovac | Faruk Begolli | Matjaž Berger | Goran Bertok | Iva-Matija Bitanga & Bijesne gliste | Zoran Bogdanović | Marko Brecelj | Mateja Bučar | Centar za izveduvački umetnosti Multimedia (Performing Arts Center Multimedia) | Centar za kulturnu dekontaminaciju (Center for Cultural Decontamination) | Suzana Cerić & Anela Šabić | Predrag Čančar | Ivica Čuljak (Satan Panonski) | Dah Teatar | Danica Dakić | Vlasta Delimar | Iskra Dimitrova | Dodona Teatri (Dodona Theater) | Eclipse | Feral Tribune | Tomislav Gotovac | Igor Grubić | Grupa Elementi (Biljana Petrovska Isijanin, Ljupčo Isijanin) | Marina Gržinić & Aina Šmid | Kemal Hadžić | Jusuf Hadžifejzović | Emil Hrvatin (Janez Janša) | Ištvan Išt Huzjan | Irwin | Sanja Iveković | Sanjin Jukić | Robert Jankuloski | Ante Jurić | Božidar Jurjević | Kanal 103 | KOHA | Zlatko Kopljar | Marko Košnik, Inštitut Egon March (Egon March Institute) | Marko A. Kovačič | Ema Kugler | Bojana Kunst & Igor Štromajer | Laibach | Le Cheval | Led art | Maja Licul | Goran Lišnjić (LEBENSFORMER) | Magnet | Mala Stanica | Saša Marković Mikrob | Goranka Matić | MAXUMIM (Ajna Arnautalić, Eldina Begić, Suzana Cerić, Alma Fazlić, Zlatan Filipović, Anur Hadžiomerspahić, Almir Kurt, Damir Nikšić, Hamdija Pašić, Samir Plasto, Rachel Rossner, Anela Šabić, Nebojša Šerić Shoba, Dejan Vekić) | Ana Miljanić | Mirovni inštitut (The Peace Institute) | Mladina | Peter Mlakar | Montažstroj | Mreža za Metelkovo (The Metelkova Network) | Oliver Musovik | Muzej biciklističkog ustanka (Museum of the Bicycle Uprising) | Nepopravljivi optimisti (The Incorrigible Optimists) | Novi kolektivizem (New Collectivism) | NSK | Edin Numankadić | Organizirane ženske skupine Slovenije (Organized Women’s Groups of Slovenia) | Irena Paskali | Nusret Pašić | Marko Peljhan | Alenka Pirman, Vuk Ćosić, Irena Woelle | Tadej Pogačar | Ivana Popović | Arjan Pregl, Miha Štrukelj, Marko Zatler | Franc Purg | Agim Qena | Radio Študent | Vlado G. Repnik | Sarajevski New Primitivs (Sarajevo New Primitivs) | Schmrtz Teatar | Enes Sivac | Mustafa Skopljak | Maja Smrekar | Soros centar za sovremena umetnost Skopje (Soros Center for Contemporary Arts Skopje) | Aleksandar Stankoski et al. | Mladen Stilinović | Sven Stilinović | Saša Stojanović | Alma Suljević | Bojan Šarčević | Nebojša Šerić Shoba | Škart | Ive Tabar | Radoslav Tadić | Slaven Tolj | Igor Toševski | Srđan Veljović | Vreme | Sonja Vukićević | Petar Waldegg | Žene u crnom (Women in Black) | Dunja Zupančič::Draga Živadinov::Miha Turšič | Janja Žvegelj

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↑↓ from the exhibition in Moderna galerija, 2021; photo: Dejan Habicht

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Continue reading “REALIZE! RESIST! REACT!”

#Cápsula2050

#Cápsula2050
Museo Nacional Centro de Arte Reina Sofía
Madrid

DIFUSIÓN
¿En Berlín? ¿En Praga? ¿En Madrid? En Internet

Compartiendo hacemos que todo crezca. Compartimos nuestros avances, aprendizajes y experiencias a través de web y redes sociales, a veces en forma de vídeo, de fotografía, de filtro de Instagram, de grabación de Whatsapp o copia de Polaroid.

Cuando no pudimos vernos físicamente, nos encontramos y abrazamos por videoconferencia. La presencia online no es una presencia de ficción ni tampoco forzada, es cotidiana y propia. De hecho, cada día parece serlo más.

El Museo acoge en su colección piezas de net art como What Was He Thinking About? Berlin? Praha? Ljubljana? Skopje [¿En qué estaba pensando él? ¿En Berlín? ¿En Praga? ¿En Liubliana? En Skopie] (2000) de Igor Stromajer. En la red abandonamos la confrontación entre realidad y virtualidad, entre la vida y el arte. Nos conectamos, cerramos la brecha.

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Calculating Control: (Net)Art and Cybernetics

Zentrum für Netzkunst (Center for Net Art)
Berlin

Calculating Control: (Net)Art and Cybernetics
exhibitions and research project
April – October 2001

Exhibition: Situating Cybernetics
30 April – 9 May 2021
Haus der Statistik & online

Symposium: Between Techno-Euphoria and Regimes of Surveillance
1–3 May 2021
Haus der Statistik & online

unConference: Embodied Cybernetics in Everyday Life (Mimetics, Empathy, and Hacking)
21–23 May 2021
Haus der Statistik

Duo Exhibition
18 September – 3 October 2021
panke.gallery & online

Online Journal
1 May 2001 –

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From 1970 to 1989, Haus der Statistik operated as the Central Administrative Headquarters for Statistics in the German Democratic Republic: an institution for the cybernetic regulation of society and everyday life.

Working from the site-specific history of Haus der Statistik, Calculating Control explores the impact of cybernetics on artistic and social practices, networks, and technology. Connecting Haus der Statistik with other locations and histories of cybernetic ideals, Calculating Control draws a trajectory from this building to contemporary algorithmic practices and their socio-political effects, many of which mark a crucial point of reference for netart.

As an artistic practice of network society, netart traces systems of cybernetic administration and renders their forms visible and subject to revision. Over the duration of six months, Calculating Control will unravel cybernetic thinking in the space of two separate exhibitions, a symposium, an unconference, as well as an online journal.

Apollo: Are digital artists waiting for the NFT bubble to burst?

Are digital artists waiting for the NFT bubble to burst?

Jo Lawson-Tancred
23 April 2021
Apollo – The International Art Magazine

“Slovenian artist Igor Štromajer, an early practitioner of internet art, remembers pushing back against an older generation of sceptics so he is keen to remain open minded. So far, however, he finds NFTs disappointing. ‘We’ve had digital and interactive computer-based art for decades. In the ’90s, at the beginning of the net art era, we developed interactive structures that were based on multiple servers around the world. They weren’t just complex technically but also in terms of their content, those go hand in hand.’ Each work could take several months to programme and selling them was difficult because Stromajer had limited control over the dispersed servers and the preservation of the work. When one of his pieces was acquired by the Pompidou Centre in Paris in 2002, Stromajer was asked to sign an agreement not to sell the work to someone else in lieu of being able to provide an ‘original’.

‘Now we’ve gone back to single file artworks, jpegs and gifs, which cuts the connection with net art as it was,’ Štromajer says. He sees this as part of a wider trend, started by the constraints and censorships of social media, which he calls the meme-ification of post-internet art. ‘If the market demands it then the art will be offered, that’s normal, but if you simplify it to sell it then at the end you get a single gif.’”