The Internet Yami-Ichi 2012-2021: A Decade to Download

A Decade to Download
The Internet Yami-Ichi 2012-2021
10th anniversary book

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book launch: 15, 16 and 17 April 2022 in New York, Tokyo, Berlin and Amsterdam

The Internet Yami-Ichi was born in Tokyo in 2012. In the past decade, 43 Yami-ichis have been held in more than 30 cities. We have to download and save all those vaguely-remembered backstreet landscapes of the Internet before they disappear into the 404s.

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Igor Štromajer ⇢ #embroidery, 2016

There has never been a more important time in the history of how the Internet has changed the world than in the last decade. And it was Yami-Ichi that ran alongside that history. What happened at Yami-Ichi is a snapshot of history.

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Controlling_Connectivity – Ten Years After

Controlling_Connectivity
Ten Years After
Artists Talk: Gretta LouwIgor Štromajer

Art Laboratory Berlin (ALB)
Tuesday, 8 February 2022
8 pm CET

Curators: Regine Rapp & Christian de Lutz
Videography: Tuçe Erel

In context of Vorspiel | transmediale 2022 Art Laboratory Berlin welcomes you to a conversation with artists Gretta Louw and Igor Štromajer based on Louw’s radical 10 day online performance at ALB in 2011.

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The Large Glass

The Large Glass
Journal of Contemporary Art, Culture and Theory
Големото стакло

The New Reality
No. 31/32, December 2021
Museum of Contemporary Art Skopje
Музеј на современата уметност Скопје

In this issue:
“Igor Štromajer: a=tF² · To find the art (a), you multiply the time (t) by the square of the force (F)”

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This volume of the The Large Glass compares various contributions on ‘The new reality’, a reality, which has been shaped by events throughout 2020 and 2021. Starting from the early period of the pandemic and the subsequent lockdowns, closed borders coupled with forms of social antagonism, struggles, discrimination and exclusion of people from economic activity and political participation, as well as the ongoing climate emergency and ecological destruction. This challenging context not only creates a political emergency, but also an artistic state of emergency.

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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”

#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.’”

KIBLIX Algo-Poetry

Igor Štromajer:
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algorithmic and procedurally generated poetry workshop

9 and 16 March 2021

KIBLIX 2020/21
International Festival of Art, Technology and Science, KIBLA Maribor
RUK – a network of research centers at the intersection of art, science and technology

Workshops are part of KIBLA’s educational program, co-financed by Ministry of Culture of Republic of Slovenia and Municipality of Maribor.

Festival KIBLIX 2020–2021 is part of project RUK (2019–2022). RUK is a network of art and culture research centers on the crossroads of art, science, and technology. The project is co-financed by the Republic of Slovenia and the European Union under the European Regional Development Fund.

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-oµ3× | Perisphere

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⦿ Perisphere
Düsseldorf, 8 November 2020

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