intima • Igor Štromajer

Poetika i politika digitalnih tehnologija

Poetika i politika digitalnih tehnologija
VIZKULTURA, Zagreb, 09. 04. 2024

Multimedijalni kulturni centar Split – Digitalni oksimoron, skupna izložba, 28. 03. – 17. 04. 2024

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From Documentary to Performative Documentation

From Documentary to Performative Documentation
by Annet Dekker
in: Materialities in Dance and Performance – Writing, Documenting, Archiving
Gabriele Klein & Franz Anton Cramer (eds.)
transcript Verlag, March 2024

Annet Dekker writes about Štromajer‘s durational internet performance -oµ4× and the deletion of net art works – Expunction.

101.72 MB

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Štromajer‘s latest series on memory and dead tech: 101.72 MB – electrical machines, computers, phones and other digital devices and their parts that once produced, processed, transmitted and stored his net ⁿᵒⁿ⁻art works (motherboards, sound and graphics cards, disks and magnetic tapes, fans, keyboards, chips, processors, cables, etc.), but are now partially or completely dead, no longer performing their basic functions, carrying only a physical memory of them.

These dead machines are part of the author’s intimate history, the memory which serves to mislead, betray and misrepresent, instead of describing the past. A false memory, however, does not offer an authentic image of the past it speaks of, but always only a misleading, deceptive, fictional and distorted, falsified image.

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Like software, hardware is also changing rapidly, continuously and inexorably, losing its functionality, purpose and, consequently, its content – the (non-)art itself. The author’s basic premise here is that (non-)art is not only hidden in the concept, the idea, i.e., not only in the nominal and declared, but equally also in the tools and machines that produce it. That is why the parts of machines, now more or less dead, are full of intimate memories that have faded and stories that have died.

The series is part of Štromajer‘s de-digitalization processes over several years, from the deletion of his net ⁿᵒⁿ⁻art works back in 2011 to the present.

The only way to liberate ourselves from feudal techno-capitalism is through collective and total de-digitalization.

The title of the work indicates the amount of now deleted net ⁿᵒⁿ⁻art works (101.72 MB of files) produced and processed by these machines and their parts between 1996 and 2007: intima.org/ex.

de-digitalization ≠ re-analogization

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20 items / dimensions:
· 52 × 52 × 6 cm (6 x)
· 37 × 37 × 6 cm (8 x)
· 27 × 27 × 6 cm (2 x)
· 12 × 12 × 3 cm (4 x)

(dead objects under clear glass, white wooden frames)

Digital Oxymoron · Quantum Dawn

Digital Oxymoron
group show
Digitalni oksimoron
28 March – 17 April 2024

MKC – The Multimedia Cultural Centre / Multimedijalni kulturni centar, Split, Croatia
curator: Irena Borić
production: Sonda Foundation, MKC Split

Igor Štromajer exhibits his work:

Quantum Dawn or Transcending Political Anxiety
ㄴ (Non)Data Traps
2023
[20 mousetraps for non-mice]

digitalni postav_6

Kvantna zora ili nadilaženje političke tjeskobe
ㄴ (ne)podatkovna klopka
2023

· artists: Format C (Dina and Vedran Gligo), Hrvoje Hiršl, Petra Mrša, Toni Soprano Meneglejte, Andrej Škufca, Igor Štromajer, Ivana Tkalčić

The exhibition Digital Oxymoron reflects the material side of digital technologies through artistic practices. Although the virtual seems immaterial, the space beyond the other side of our keyboard is based on physical conditions and has concrete (often negative) consequences for the environment and society. At the same time, it is a space of exchange and the circulation of capital which influences the narrative about the immateriality of the digital. Precisely because of this apparent dematerialization in relation to other technologies and industries, the trace of digital technologies is even more ‘insidious’. It is difficult to make end users aware that digital waste is not only hardware and computer monitors, but also has environmental, social, political and economic consequences. Precisely because the scope of the material and ecological consequences of digital technologies is not easily comprehensible, the exhibition explores the different poetics and politics of digital technologies from this side of the screen.

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»In Quantum Dawn or Transcending Political Anxiety – (Non)Data Traps, Štromajer establishes a humorous dialogue by placing twenty mousetraps in the gallery space. Mousetraps everywhere, but not for mice. Like the miniature servers in their cages, the mousetraps are miniature terrariums with bio- and electronic parts (chips, cables, computer parts), and the artist questions our position in relation to the predicaments of new technologies. The term ‘quantum dawn’ also refers to a series of cyber-security exercises that allow financial institutions and the sector as a whole to practice and improve coordination with key industry and government partners to keep the financial market functioning in the event of a systemic cyber-attack. On the other hand, the term ‘non-data’ does not mean that there is no data, but is a physical term and is used in quantum physics to refer to another state of data, as every data has its opposite, i.e. non-data.«
— Irena Borić, curator

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Oppera Teorettikka Internettikka, 1999

Oppera Teorettikka Internettikka
· created and performed by Igor Štromajer
(singing HTML and Java in English and Slovenian language)
· a version with remastered sound, February 2024

18 March 1999
Opera and Ballet of the Slovene National Theatre in Ljubljana

18 March 2024 marks the 25th anniversary of Oppera Teorettikka Internettikka, performed in 1999 on the stage of the Opera and Ballet of the Slovene National Theatre in Ljubljana.

Previously, Štromajer first sang the Oppera at the SeaFair – Skopje Electronic Arts Fair at the Museum of Contemporary Art in Skopje (at the invitation of Melentie Pandilovski) in 1998, and at the transmediale in Berlin in January 1999 (at the invitation of Tilman Baumgärtel; in Kulturzentrum Podewil).

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· audio recorded live by Borut Savski (ministry:of:x-periment) and aired on Radio Študent
· produced by Anatom, co-produced by Intima Virtual Base and Kapelica Gallery
· camera by Jurij V. Krpan, photo by Igor Delorenzo Omahen; special thanks to Bojana Kunst, Nataša Kos, Borut Smrekar

Le Pavarotti du HTML – Le Slovene Stromajer crée des opéras en code web; par Marie Lechner (le vendredi 2 février 2001, Libération, Paris)

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Igor Štromajer‘s book of computer-generated poetry will be published in autumn this year. It contains one hundred and one unicode poems co-written by a human and a machine between 2013 and 2018.

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