Intima | Igor Štromajer

Richard Kern: Language, Literacy, and Technology

Language, Literacy, and Technology

Author: Richard Kern, University of California, Berkeley
Cambridge University Press, 2015

(ref.: Igor Štromajer, Oppera Internettikka)

From the origins of writing to today’s computer-mediated communication, material technologies shape how we read and write, how we construe and share knowledge, and ultimately how we understand ourselves in relation to the world. However, communication technologies are themselves designed in particular social and cultural contexts and their use is adapted in creative ways by individuals. In this book, Richard Kern explores how technology matters to language and the ways in which we use it. Kern reveals how material, social and individual resources interact in the design of textual meaning, and how that interaction plays out across contexts of communication, different situations of technological mediation, and different moments in time. Showing how people have adapted visual forms to various media as well as to social needs, this study culminates in five fundamental principles to guide language and literacy education in a period of rapid technological and social change.

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Preserving Born Digital Art : Lessons From Artists’ Practice

Preserving Born Digital Art : Lessons From Artists’ Practice

Dr. Conor McGarrigle, Dublin Institute of Technology


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Revista Select, N. 26, Oct/Nov 2015

Ballettikka Internettikka in the new issue of Revista Select (N. 26, Oct/Nov 2015), Sao Paulo, Brazil.


— Guilherme Kujawski: Ação e procedimento, page 36

O íntimo, o global e o performático —
Dedicada à performance, a seLecT 26 apresenta artistas que utilizam essa linguagem para moldar identidades e afirmar atitudes políticas; confira o editorial da edição.

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Artist at Work: Proximity of Art and Capitalism

In her new book, Bojana Kunst analyzes the performance Ballettikka Internettikka: Stattikka by Igor Štromajer & Brane Zorman:


Bojana Kunst: Artist at Work — Proximity of Art and Capitalism
(Chapter 4: Movement, Duration and Post-Fordism)
Zero Books, August 2015
John Hunt Publishing, Winchester, UK / Washington, USA


Igor Štromajer & Brane Zorman:
Ballettikka Internettikka: Stattikka, Hong Kong / Dresden, 2007

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[Furtherfield] Choose Your Muse Interview: Igor Štromajer

Choose Your Muse Interview: Igor Štromajer
By Marc Garrett – 09/06/2015


Choose Your Muse is a new series of interviews where Marc Garrett asks emerging and established artists, curators, techies, hacktivists, activists and theorists; practising across the fields of art, technology and social change, how and what has inspired them, personally, artistically and culturally.

Furtherfield, 2015

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Tress: Igor Štromajer, a médiaművész

Szabó Kriszta: Igor Štromajer, a médiaművész
— Tress, 19 February 2015


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Katja Čičigoj: To je članek

Katja Čičigoj: To je članek

ŠUM #1
, 23 januar 2015



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Die Dramatik des Quellcodes

Mannheimer Morgen, Montag, 27.10.2014

KUNST: Die Ausstellung “Subversive Systeme” in der Stadtgalerie Mannheim zeigt Arbeiten, die Computer und Internet nutzen

Die Dramatik des Quellcodes


Subversive Systems. Poetic Transfiguration of the Digital
Subversive Systeme. Poetische Transfiguration des Digitalen
Stadtgalerie Mannheim; group show, 23 Oct – 30 Nov 2014
Artists: Annie Abrahams, [epidemiC] / Franco Berardi, plan b, Volker Hartmann-Langenfelder, Igor Štromajer
Curator: Benedikt Stegmayer

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Archéologie des média – MCD

MCD #75
magazine des cultures digitales
septembre 2014

Archéologie des média


L’archéologie des média est quasiment inconnue en France, bien qu’elle ait plus de vingt d’existence. Pourtant, elle a produit (et continue de produire) des effets majeurs dans le champ de la création, de l’exposition, de la médiation, de la conservation et de la théorisation des œuvres médiatiques et numériques

Les contributeurs de ce numéro :
Andrés Lozano, Anne Laforet, Annick Bureaud, Annick Rivoire, Cécile Dazord, Clarisse Bardiot, Coline Bourgouin, Emmanuel Guez, Emmanuel Guy, Gwenola Wagon, Igor Štromajer, Jussi Parikka, Laura Garrassin, Line Herbert-Arnaud, Lionel Broye, Lucille Calmel, Marie Bastard, Morgane Stricot, Prune Galeazzi, Rémy Geindreau, Serge Hoffman, Tiphaine Vialle.


Rédacteur en chef invité : Emmanuel Guez & l’ESAA (École Supérieure d’Art d’Avignon); Rédacteur en chef : Laurent Diouf

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Sprinkling Menstrual Navigator, Centre Pompidou

Igor Štromajer: sm.N – Sprinkling Menstrual Navigator
Le Centre national d’art et de Culture Georges Pompidou, Musee national d’art moderne, Paris, France


Section of the collection : Nouveaux médias
Collection du Musée national d’art moderne



Masaža ega – Press

Izbrani medijski zapisi o razstavi Masaža ega v Projektnem prostoru Aksioma:

– Petra Tanko, Radio Slovenija, Program Ars, Razgledi in razmisleki, 5. junij 2014
“Pogovor z Igorjem Štromajerjem”

– Maša Levičnik, Televizija Slovenija, Kultura ob 22h, 15. maj 2014
“Igor Štromajer: Masaža ega”

– Jela Krečič, Delo, Kultura, 20. maj 2014
“Igor Štromajer masira svoj ego”

– Neža Mrevlje, SiOL, Kultura, 25. maj 2014
“Igor Štromajer: Kadar se toliko ukvarjaš sam s sabo in potiskaš vse na rob mogočega, je to vulgarno”


– Bojan Stefanović, Radio Študent, 26. maj 2014 (od 28. minute naprej)

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Večer: Živim od norosti in ljubezni

Večer: Živim od norosti in ljubezni


Katarina Šulek, Sobotna priloga, Večer, 3. maj 2014

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BOMB 2014

BOMB Magazine
NYC, April 21, 2014

Annie Abrahams, Gretta Louw and Igor Štromajer about Annie Abrahams, Gretta Louw and Igor Štromajer. A three-way conversation about performance art online.


Art : Interview / BOMB — Artists in Conversation


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Delo: Najsrečnejši umetnik na svetu

Jelka Šutelj Adamič, Delo, Kultura, 2. april 2014

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Curating Your Memory

Curating Your Memory
Curating Your Memory is an evening about deleting, curating and dealing with big data on a personal scale.

V2_ Institute for the Unstable Media, Rotterdam
The Piet Zwart Institute, Rotterdam

V2_: Thursday, 28 November 2013 at 8 pm


French philosopher Jacques Derrida made the claim that ‘the mutation in technology changes not simply the archiving process, but what is archivable – that is, the content of what has to be archived is changed by the technology’. What he means is that the style of the content is transformed through new processes and production. Moreover, the relation to time and space created by the fact that within mere seconds one can reach someone in every corner of the world, has also affected the content. Of course this also effects power relations, decision-making and accountability. It is generally known and accepted that archives construct a specific account of history, many things end up in an archive, but even more remains outside, to be forgotten. Questions like who is in charge of an archive, who selects, and for whom is the archive, have been plaguing archives from the beginning. One could argue that the digital accelerates this process, so how to relate to this new situation? What is the value of digital memory and how to deal with big data on a small scale? These questions form the start of an evening with three perspectives.

With Robert Sakrowski, Dragan Espenschied and Igor Štromajer, moderated by Annet Dekker.

This public event is organised by Piet Zwart Institute, Dept of Media Design – Networked & Lens-Based, and made possible with the support of Goethe Institute and V2_.


Igor Štromajer presenting at the V2_ Institute for the Unstable Media, Rotterdam, 28 Nov 2013, Photo: Sakrowski

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Un acuerdo que materializa lo virtual

Un acuerdo que materializa lo virtual
Por: Roberta Bosco y Stefano Caldana

04 de noviembre de 2013
El Pais, El arte en la edad del silicio, Madrid, Spain

(authors write also about the work of Igor Štromajer)


Colección Reina Sofía. “What was he thinking about? berlin? praha? ljubljana? skopje?” (2000) de Igor Štromajer.

+ read the entire article (in Spanish):

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Kje vse je umetniško delo

Kje vse je umetniško delo

Na razstavi Vmesna postaja 1 : 1 v MSUM o umetnosti v njenih realnih razmerjih do časa, življenja, ekonomije, politike in družbe.
– Maja Megla, Delo, kultura, 16. oktober 2013

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“[…] Podobną postawę można dostrzec w grupowym przedsięwzięciu Performmikka Internettikka (2010), zrealizowanym przy udziale artystów takich, jak Annie Abrahams, Christopher Bruno, C. Dullaart, Robin Nicolas oraz Igor Štromajer i Brane Zorman. Performance, mający posłużyć jako eksperyment badawczy kontynuujący tradycje sztuki telematycznej, pozwolił twórcom na wspólne przedsięwzięcie pomimo dzielącej ich geografi cznej odległości. Wydawać się może, że sama koncepcja zdalnej współpracy była już dobrze rozpoznana przez działania takie jak The Last 9 Minutes (1977), czy koordynowane, globalne akcje Nam June Paika z lat osiemdziesiątych dwudziestego wieku, jednak w tym wypadku podstawową różnicą jest przestrzeń, w której pracują artyści. C. Bruno w akcji The Human Browser (2005-2013) wykorzystał zhakowany dostęp do treści pochodzących z Google. Performerzy, wyposażeni w słuchawki, recytowali teksty, które napływały do nich w czasie rzeczywistym, jako ciągi wyszukiwanych treści. Natomiast Igor Štromajer i Brane Zorman w projekcie Ballettikka Internettikka Insecttikka (2010) wykorzystali dwa samodzielnie poruszające się małe roboty-zabawki, rejestrujące obraz za pomocą wbudowanych kamer ( Materiał zrealizowano w porcie w Hamburgu, gdzie oba roboty, zaprogramowane na autodestrukcję, uległy zniszczeniu, co widzowie mogli zdalnie obserwować, stając się świadkami technologicznego „samobójstwa”. Oba roboty zatonęły w wodach zatoki, przekazując jeszcze przez jakiś czas obraz otoczenia i swoje wzajemne wizerunki. Materiał był dostępny dla widzów w formie transmisji. W tym wypadku performance miał charakter całkowicie zmediatyzowany, zarówno jeżeli chodzi o performera, jako o podmiot, jak i sposób odbioru performance przez publiczność, której zaprezentowano przekaz w czasie rzeczywistym, będący jednocześnie dokumentacją. […]”


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M=5¦é×–0§ń $iá†

Igor Štromajer
M=5¦é×–0§ń $iá†

Published in: Theory and Practice in the Conservation of Digital Art (2013)


– reference: ExpunctionDeleting Net Art Works


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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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