Documentation as Art
Expanded Digital Practices
Edited by Annet Dekker and Gabriella Giannachi
Routledge, January 2023
➜ contains a reference to Štromajer‘s artwork -oµ4×
Documentation as Art presents documentation as an expanded practice that is radically changing the ways in which to look at, participate in, and generate art.
Bringing together expertise from different disciplines, the book provides an in-depth investigation of the development of documentation as a set of production, circulation, and preservation strategies. Illustrating how these are often led by artists, audiences, and museums, the contributions offer new insights into digital art and its history, curation, and preservation, through documentation. Considering documentation as the main method of preserving these art forms, the book analyses how it can address the inherent challenges of capturing live events, visitor experiences, and evolving artworks. Showing how documentation itself can become (part of) an original artwork, the book discusses ways in which these expanded practices can impact the value and experience of the documented event or artwork, giving consideration to how this might affect the traditional authority of the museum as creator of documentation used for future reference, historical relevance, or cultural memory.
Documentation as Art demonstrates how the curation and preservation of documentation and the introduction of audience-generated documentation are radically changing exhibition and visiting practices in which documentation is becoming a significant and emergent cultural form in its own right. The book will appeal to researchers and students engaged in the study of museums and curation, art and art history, performance, new media and digital art, library and information science, and conservation.
Continue reading “Documentation as Art”
test N.3 / things we love to hate and hate to love
– over a lazy Sunday morning coffee, I asked ChatGPT to write a comparative analysis between my work and that of Barbara Kruger
Igor Štromajer and Barbara Kruger are both notable figures in the world of contemporary art, but they work in different mediums and their art explores different themes. However, they share some similarities in their exploration of social and political issues. Continue reading “ChatGPT: Štromajer vs. Kruger”
Igor Štromajer with Sakrowski
Aksioma | Project Space, Ljubljana
28 June – 22 July 2022
↑ TV SLO, Kultura, 29/06/2022 (Nataša Žunić)
↑ Mladina, 01/07/2022 (foto: Sunčan Stone)
Continue reading “[news] ƒ(x)=ax³+bx²+cx+d”
Internet From Antiquity to the Present Day
From 0.html by Igor Štromajer to Cube.Zero by Štromajer and Sakrowski
➠ Google/English translation
Kultura – Portal for Culture, Art and Society
8 June 2022, Sofia, Bulgaria
Terziev writes about the exhibition ⊡.gif by Igor Štromajer with Sakrowski:
Gallery Gallery / Галерия Галерия, Sofia, Bulgaria; curated by Albena Baeva and Rene Beekman
19 May – 3 September 2022
Интернет от древността до наши дни
От 0.html на Игор Щромайер до Cube.Zerо на Щромайер и Сакровски
Два проекта в галерия „Галерия“ и „Площадка“, 19 май–3 септември 2022 г., куратори Албена Баева и Рене Беекман
Списание Култура – портал за култура, изкуство и общество
A Decade to Download
The Internet Yami-Ichi 2012-2021
10th anniversary book
➠ 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.
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.
Continue reading “The Internet Yami-Ichi 2012-2021: A Decade to Download”
Ten Years After
Artists Talk: Gretta Louw, Igor 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.
Continue reading “Controlling_Connectivity – Ten Years After”
The Large Glass
Journal of Contemporary Art, Culture and Theory
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)”
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.
Continue reading “The Large Glass”
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?”
Continue reading “NETescopio • Algoritmia”
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