Intima | Igor Štromajer

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Net Art Revenge

Paço das Artes

Giselle Beiguelman: Net Art Revenge
São Paulo, Brazil
13 Maio 2020

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Kultura TVS1

Igor Štromajer o umetnosti na svetovnem spletu

Televizija Slovenija 1, Kultura, 3. april 2020

Novinarka: Polona Balantič

 

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3¦×Fń–Qé3= Miá+ [KDP]

3¦×Fń–Qé3= Miá+
-oµ4×

One hundred and one poems by Igor Štromajer, co-written by a computer.

Kindle Edition [.com]
February 2020

+ DE | UK | FR | ES | CA | IT | MX | JP | AU | IN | NL | BR

 

Igor Štromajer – Amazon Author Page:
English: amazon.com/author/intima
Deutsch

Written in Hamburg and Frankfurt am Main, 2012–2019

Published in February 2020
KDP – Kindle Direct Publishing
ASIN: B084MF39ND

107 pages

a=tF²

complete info and other editions

ëª ¦ • ÷33× ²° + ¬¦¹^°• ß ×= ]+¹^•

 

 

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FAZ: Volkslied einmal anders

FAZ writes about the concert-performance Schreib dein Lied! / Write your song! by textXTND and Igor Štromajer‘s poem Ich bin (nicht gut genug als Künstler)  / I Am (Not Good Enough as an Artist), performed at Basis Frankfurt in December 2019.

Frankfurter Allgemeine Zeitung, 31.12.2019, Rhein-Main-Zeitung, Seite 38 ©️ Frankfurter Allgemeine Zeitung GmbH 2019. Alle Rechte vorbehalten. F.A.Z. Archiv

 

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Proto-Art in the Age of Generative Reproduction

Proto-Art in the Age of Generative Reproduction

The matrix creates, the body reproduces. In the trans-gender artifice, art objects are reproductions of the iterations of the matrix — a matrix that uses the body as a parallax to represent ideas, patterns, and emotions. With the rationalization of the electronic environment, the matrix is superseding a point where it will be free from the body to realize immersions into the parameters of the delphic artifice. Work of Proto-Art in the Age of Generative Reproduction contains 10 minimal java engines (also referred to as “memes”) that enable the user to make political audio/visual compositions.

– measuring chains, constructing realities
– putting into place forms
– a matrix of illusion and disillusion
– a strange attracting force
– so that a seduced reality will be able to spontaneously feed on it

Igor Štromajer‘s work investigates the nuances of modulations through the use of slow motion and close-ups which emphasize the generative nature of digital media. Štromajer explores abstract and boring scenery as motifs to describe the idea of cyber-intuitive artifice. Using radical loops, non-linear narratives, and allegorical images as patterns, Štromajer creates meditative environments which suggest the expansion of space…


<– Obligatory ascii sig. Repeat until desired cyborg effect is achieved. –>

/u[0]{)]|]]-] ————-/u/u!@#$%^~!@#$%^&*()) __++_)(*&^%$——–/u/u!@#$%^~!@#$ %^&*())__++_)(*&^%$——–/u/u!@#$ %^~!@#$%^&*())__+, etc., etc.
<– End obligatory ascii sig. –>

● dynamically generated by The Market-O-Matic (1.0) [fine arts version]

 

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C3 2019 Calendar

2019 calendar
Centro de Ciencias de la Complejidad C3, Ciudad de México

● images for our March 2019 group show Endemic vs. Global (Endémico contra global)

November: Igor Štromajera=tF²

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Networks of care

In her new book, in the chapter ‘Networks of care’, Annet Dekker also briefly mentions the project of mine which you may or may not be aware of.

Collecting and Conserving Net Art: Moving beyond Conventional Methods
by Annet Dekker, Routledge, 2018

 

 

Chapter: Networks of care

“[…] oµ4× a ‘performative action’ by Igor Štromajer who over a period of four years (from 2016 to 2020) asks a group of people to keep safe several encrypted files, which he randomly selected from his earlier project Expunction (2011) in which he deleted many of his net artworks from his server. Looking for other modes of distributing, sharing and experiencing the potential art which is stuck and compressed in those removed files, Štromajer is organising his own ‘network of care’.45 These works afford new modes of active engagement and creative use, and demonstrate a more recent way of dealing with circulation, in which the distributive effects are intentional if not foreseeable.

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Ljubljana v poeziji

Jaka Železnikar:
Ljubljana v poeziji, 2018
Ljubljana In Poetry

Igor Štromajer: Hh vÜŞr og»mS~ÍÖθŐZ»

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TVS – Ch. 1

Osmi dan, TVS
10. maj 2018, novinarka: Pija Svetec

┗◯▲◯┛ #interview
TV Slovenia, Channel 1 / Arts & Culture
Thursday, 10 May 2018

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Literatura.si

3¦×Fń–Qé3 = Mià† v Literaturi

Igor Štromajer

 

 

 

LUD Literatura, maj 2018 | #Poezija

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Power to the Viewer

Power to the Viewer
by Randall Packer, thirdspacenetwork.com
April 2018

+ more info:
Art of the Networked Practice – Social Broadcasting: an Unfinished Communications Revolution, a three-day international gathering presenting keynotes, live internet performances, and global roundtable discussions / Online Symposium, March 2018

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The Wrong | Press

Yusuke Shono:
世界最大級のデジタルアートのビエンナーレ「THE WRONG」に見る、オンラインキュレーションの可能性
MASSAGE Magazine, Tokyo, 30.12.2017

Mit Borrás:
Flexible. Invencible. The Wrong
NEO2, Madrid, 16 enero 2018

Оксана Игошина:
Нет-арт is Wrong
Артгид / Artguide, Moscow, 19.01.2018

El arte digital tiene su propio espacio en The Wrong Biennale
Arte al Limite, Santiago de Chile, 10 enero 2018

Galerie ampersand / Gallery Falko Alexander, Cologne
— The Wrong Club: 000.000_i

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Lost and Living (in) Archives

Lost and Living (in) Archives
Collectively Shaping New Memories

Annet Dekker (ed.)

Valiz, Amsterdam, 2017
ISBN: 978-94-92095-26-8


Contributors: Babak Afrassiabi, Dušan Barok, Tina Bastaijan, Nanna Bonde Thylstrup, Özge Çelikaslan, Annet Dekker, Olia Lialina, Luksch, Nicolas Malevé, Aymeric Mansoux, Michael Murtaugh, Josien Pieterse, Ellef Prestsæter, Robert Sakrowski, Stef Scagliola, Katrina Sluis, Femke Snelting, Igor Štromajer, Nasrin Tabatabai

Archives are collections of records that are preserved for historical, cultural and evidentiary purposes. As such, archives considered as sites of a past, a place that contains traces of a collective memory of a nation, a people or a group. Digital archives have changed from stable entities into flexible systems, at times referred to with the term ‘Living Archives’. In which ways has this change affected our relationship to the past? Will the erased, forgotten and neglected be redeemed, and new memories be allowed? Will the fictional versus factual mode of archiving offer the democracy that the public domain implies, or is it another way for public instruments of power to operate? Lost and Living (in) Archives shows that archives are not simply a recording, a reflection, or an image of an event, but that it shapes the event itself and thus influences both the past, present and future.

Robert Sakrowski & Igor Štromajer: Expunction / Deleting Net Art Works – A Conversation

The series ‘Making Public’ investigates ‘the public’, the civil domain where space, knowledge, values and commodities are shared. What does this notion of ‘public’ mean? How does this domain change under the influence of social, political and technological tendencies? Where are the boundaries of ‘the public’ and how are they determined? What interests are involved in this? What forms of responsibility and solidarity does ‘the public’ invoke? And how do artists and culture critics shape the debate on these issues?

 

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Metric Culture, Denmark

Metric Culture: The Quantified Self and Beyond
International Conference, 7-9 June 2017
Organised by: Btihaj Ajana, AIAS and King’s College London
Aarhus Institute of Advanced Studies, Denmark

Dr Elena Marchevska:
Intimacy without cause: self-tracking and the quantified self in the net-art work of Igor Štromajer
London South Bank University, UK
Panel: Quantified Self and capitalist value


Photo: Christopher Till ©

+ Programme (PDF)

Abstract:

Data is money, data is power, data is everything and everything can be data. Yet data is simply a set of information on a world that is messy, irrational, unstable, and emotional. In the V2 catalogue for the show ‘Data in the 21st Century’, the curator states that: ‘The rise of so-called big data and the emergence of technologies that are able to quantify our every move, preference and behaviour, have demonstrated where the friction lies between the unpredictable reality that we live in and the desire to capture it in data.” (2015).

The paper will look into the performative work of Igor Štromajer and his projects ‘Expunction’ (2012) and ‘Multifeminist studies’ (2016) run by/on his Intima Virtual Base production site. Through these projects he is working on simple technological solutions for handling data and emotional strategies. His role of being both performer within the work and simultaneously viewing oneself from an external position (watching yourself on screen to see how you fit in) in order to gauge avenues for proceeding is both disorienting and extremely engaging. As Štromajer summarises: ‘’’Intimacy without a cause’ today is the most radical resistance to capital. ‘ (2005:149) Both projects raise questions about temporality, duration and availability of net art project that deal with data which change over time and slowly, but persistently lose their utility and, accordingly, their content.

© Elena Marchevska

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Neumark: Voicetracks

Voicetracks
Attuning to Voice in Media and the Arts
By Norie Neumark

The MIT Press, Hardcover, 232 pp., 6 x 9 in, 26 b&w illus., May 2017, ISBN: 9780262036139 (eBook, May 2017, ISBN: 9780262339827)
#

In her new book, Norie Neumark also writes about Ballettikka Internettikka.

Moved by the Aboriginal understandings of songlines or dreaming tracks, Norie Neumark’s Voicetracks seeks to deepen an understanding of voice through listening to a variety of voicing/sound/voice projects from Australia, Europe and the United States. Not content with the often dry tone of academic writing, the author engages a “wayfaring” process that brings together theories of sound, animal, and posthumanist studies in order to change the ways we think about and act with the assemblages of living creatures, things, places, and histories around us.
Neumark evokes both the literal—the actual voices within the works she examines—and the metaphorical—in a new materialist exploration of voice encompassing human, animal, thing, and assemblages. She engages with artists working with animal sounds and voices; voices of place, placed voices in installation works; voices of technology; and “unvoicing,” disturbances in the image/voice relationship and in the idea of what voice is. She writes about remixes, the Barbie Liberation Organisation, and breath in Beijing, about cat videos, speaking fences in Australia, and an artist who reads (to) the birds. Finally, she considers ethics and politics, and describes how her own work has shaped her understandings and apprehensions of voice.

Norie Neumark, a sound and media artist, is Honorary Professorial Fellow at Victorian College of the Arts, University of Melbourne, and Emeritus Professor at La Trobe University in Melbourne. She coedited At a Distance: Precursors to Art and Activism on the Internet and VOICE: Vocal Aesthetics in Digital Arts and Media, both published by the MIT Press.

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Poetry: 3¦×Fń–Qé3= Miá†

Igor Štromajer
3¦×Fń–Qé3= Miá†
— one hundred and one poem

Paperback, 14.8 cm x 21 cm, 108 Pages
ISBN: 978-1-326-98492-2
Prints in 3-5 business days.
€5.86
lulu.com/spotlight/intima_org

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3¦×Fń–Qé3= Miá†
-oµ4×
One hundred and one poem by Igor Štromajer, 2017.
Based on www.intima.org/miat, 2012 and www.intima.org/3xfnqe3miat.pdf, 2016.
ISBN: 978-1-326-98492-2
IN/CN: 00936-30973
Written in Hamburg and in Frankfurt am Main, from 2012 to 2017.
Published by www.intima.org, 2017.

+ 0§n–3¦é×F= Miá†, audio/eBook by Igor Štromajer, 2012

 

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Pogled unatrag: godina u vizualnim umjetnostima

Pogled unatrag: godina u vizualnim umjetnostima
Bojan Krištofić, kulturpunkt.hr
31.12.2016

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Vizkultura.hr: Make Love Not Art

Make Love Not Art
Vizkultura.hr, 5. 9. 2016
[interview in Croatian]

Razgovor s Igorom Štromajerom, pseudo-/para-umjetnikom ludičkog trenutka interneta

vizk-1

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intima.org  ●  intima.info

    
      

Igor Štromajer aka intima is a pseudo-/para-/proto-artist. He has shown his work at more than two hundred fifty exhibitions, festivals and biennials worldwide, among others at the transmediale, ISEA, EMAF, SIGGRAPH, Ars Electronica Futurelab, V2_, IMPAKT, CYNETART, Manifesta, FILE, Stuttgarter Filmwinter, Hamburg Kunsthalle, ARCO, Banff Centre, Les Rencontres Internationales, The Wrong – New Digital Art Biennale, etc.



His works are included in the permanent collections of the Centre Pompidou in Paris, the MNCA Reina Sofía in Madrid, Computer Fine Arts in New York, and UGM:


























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