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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

Eros Ars System – theatrical installation by Igor Štromajer & Bojana Kunst
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”? Is performance even the right term to encapsulate such a vastly varied production in the then newly founded states from Slovenia to Macedonia? Outside the art institutions, there was no common or shared understanding of performance in the region, which was primarily the consequence of considerably different socioeconomic and political circumstances. And herein lies the main difficulty of our project. Its unifying thread was not a search for similarities but a juxtaposing of certain “absences.” Generally, a lack of political engagement and the considerable unresponsiveness to or silence about certain political events, such as the wars and related crimes in Bosnia and Kosovo, or the case of the erased citizens in Slovenia, was characteristic of art in Slovenia.

beyond
ON.KRAJ/BE.YOND – intimate performance by Igor Štromajer & Bojana Kunst
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. Civil society was split apart by conflict and power struggles, political influence, and social power, with the discriminatory logic of exclusion clearly evident. At the same time, there was a distancing from the “idea” of Yugoslavia and the discovery of a new “European” identity, which resonated also in art. That difficult decade – not only for researchers in the field of art, but also or even more so for scholars exploring its history, society, and economy – left a profound mark on the decades that followed, with its nationalisms, transition, revisionisms, corruption, particracy, and market capitalism. Tomaž Mastnak described it as “the creation of post-socialist klepto-oligarchies.” Our present time of “state of emergency” (or almost state of war) seems in many respects a direct continuation of the 1990s, particularly in the way in which right-wing politics/parties are managing the current crisis and govern the state.

What is quite evidently happening in the field of culture in Slovenia is an aggressive turn to national (mono) culture, conservativism, and populism, with a political campaign of removing critical voices from institutions, etc. This is, in short, a time of attempted “silencing,” and those active in the field of art and culture are resisting and fighting against it in ways and with means similar to those employed during the 1990s. Consequently, political performance here is not understood merely as some kind of “witness” to events, but as a form of resistance against “war machines” (related to power, institutions, state, identities, language), a resistance that has often emerged under extreme political circumstances. On the other hand, 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.

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 | 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 | Igor Štromajer | 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 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.

mrs21-a

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 –

zfn-cc-1

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.’”

25th Anniversary

Memory is there to deceive

2021 marks the 25th anniversary of Igor Štromajer‘s first net art work 0.HTML (created in January 1996) and the 10th anniversary of its deletion (2011).

330 files: 10.2 MB
– 142 HTML files
– 164 GIF files
– 19 MP3 files
– 5 WAV files

0.html is an archive of historical techno imagination, world politics and a grain of melancholy.”
— Inke Arns (Leonardo Electronic Almanac, MIT Press, 2000)

Expunction – deleting net art

KIBLIX Algo-Poetry

Igor Štromajer:
3ixFń-Qé3=Miá+
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.

Continue reading “KIBLIX Algo-Poetry”

Endémico versus Global, San Luis Potosí, Mexico

Endémico versus Global
group exhibition

Galería Perimetral del Parque Juan H. Sánchez / Morales
San Luis Potosí, Mexico

9 January – 10 March 2021

Produced by C3 – Centro de Ciencias de la Complejidad de la Universidad Nacional Autónoma de México (C3 Science Complexity Center, Autonomous National University of Mexico)

Curated by Manolo Cocho, Vasja Nagy, Josip Zanki, Maja Flajsig

Igor Štromajer participates with his work a=tF² ░ ▄ █ ▀ ▌ ̲ – ̲ – (digital prints):

Continue reading “Endémico versus Global, San Luis Potosí, Mexico”

Vorspiel transmediale: Live Streaming Show with Igor Štromajer

Vorspiel transmediale
Berlin, 2021

panke.gallery
presents

The 24-hour Live Streaming Show with Igor Štromajer

Start: Friday, 22 January 2021 at 11:00 CET / Berlin time
End: Saturday, 23 January 2021 at 11:00

one hour video excerpt: VIMEO + YouTube + Facebook video

24-hour live streaming performance

Produced by
panke.gallery
Berlin
January 2021

Curator: #Sakrowski

Vorspiel transmediale
is a distributed program of events in the field of digital art and culture & experimental sound and music: exhibition openings, performances and interventions.

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KIBLIX 2020

KIBLIX 2020
International Festival of Art, Technology and Science
Maribor, December 2020 – February 2021

● curatorial team: Živa Kleindienst, Tadej Vindiš, Peter Tomaž Dobrila, Aleksandra Kostič

 

 

Igor Štromajer in conversation with Igor Štromajer
15 December 2020 at 8pm

 

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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Continue reading “KIBLIX 2020”