Artist Presentation Series selected by the Slovenian Art Critics Association Art critic: Vasja Nagy-Hofbauer Curator of the series: dr. Majda Božeglav Japelj Artist Presentation Series selected by the Slovenian Art Critics Association Art critic: Vasja Nagy-Hofbauer Curator of the series: dr. Majda Božeglav Japelj

Exhibiting in Ljubljana this May.

www.cd-cc.si/en/culture/e...

Whoever declares an artwork finished is a fascist.

Screenshot of an audio editing program showing a stereo waveform on a black background with green grid lines. Two horizontal channels (left and right) display turquoise waveform shapes with varying peaks and gaps, indicating speech or recorded sound. A timeline runs across the top from 0 to about 8 seconds, with markers and a playhead at the beginning. Decibel (dB) level scales appear on the right side of each channel. Playback controls are visible at the bottom, including play, stop, and record buttons.

Production of a new sonic datastructure for the radia.fm network is complete, premiering this May on Frankfurt's @radio-x-official.bsky.social 91.8 FM.

74.48 dB(A) – Buffering Love in a Hopeless Place

· programmed, synthesized, processed by @intima.bsky.social and computers
· editor: Verena Kuni

Darknet, dark art, dark times.

Looking back at the last five years or so, the works I value most, the ones I've made the most deliberate and consistent in both concept and execution, are the least interesting to curators. This is probably because they're boring, empty, and unspectacular.

Arnd Wesemann: Was macht ein ausgebildeter Tänzer, wenn er auf die Bühne will? Klein anfangen wie die meisten? Groß rauskommen wie die wenigsten? Oder sollen wir Igor Štromajer und Brane Zorman fragen? – ballettanz, Berlin

Michael Seaver: Ballettikka Internettikka: Pranksters or Visionaries? – Dance Magazine, NY

Marie Lechner: Štromajer et Zorman frappent à nouveau ! – Libération, Paris

R. Daskalova: With this project Štromajer & Zorman demythologize net art. – CIAC, Montreal

J. Bosma: Zorman conducted the MP3s on his laptop like a true Herbert von Karajan. – Cream, Amsterdam

R. Bosco / Caldana: Štromajer transforma el código HTML en un espectácolo de net.ballet – El País, Madrid

Collage documenting an early net art performance. At the top is a Spanish newspaper clipping from El País (29 March 2001) with the headline: “Stromajer transforms HTML code into a net.ballet spectacle,” plus a smaller excerpt mentioning the artist from Ljubljana and code, HTML, and Java. Below are three warm-toned stage photos from the performance: two performers in a sparse dark space work with laptops, cables, and a large beige CRT computer monitor on a table. In one image, a video camera films the scene and a round graphic reads “FCK ART LET’S DANCE.” In the final image, one performer strikes a dramatic dance pose while holding an open newspaper, while the other remains seated at the computer. The overall mood is theatrical, low-tech, and ironic, combining dance, coding, and early internet aesthetics.

Some anniversaries are celebrated with great fanfare, others simply fade away. Today marks exactly a quarter century since the very first Ballettikka Internettikka (Kapelica Gallery, Ljubljana, 28 March 2001).
Twenty-five years. Let's dance!

Igor Štromajer & Brane Zorman ➠ intima.org/bi/bi1

A 4 by 4 grid of square images on a light-gray background, each with rounded corners. Every image shows a kaleidoscopic pattern created from screenshots of Windows 3.1 interfaces, including elements from MS Excel and MS Word. Familiar details like menu bars, buttons, scrollbars, and small text are mirrored and repeated into symmetrical compositions, forming shapes such as stars, crosses, and hexagons. The color palette is mostly gray and white with strong blue accents, evoking a retro computer aesthetic. The overall impression is highly structured, ornamental, and digitally intricate.

Ready for the exhibition: UV prints on aluminum composite panel, 30 × 30 × 0.5 cm, 22 iterations

#windows #kaleidoscope #windows31 #msword #msexcel

Happy π Day!

3.14159265358979323846264338327950288419716939937510582097494459230781640628620899862803482534211706798214808651328230664709384460955058223172535940812848111745028410270193852110555964462294895493038196442881097566593344612847564823378678316527120190914564856692346034861045432664821...

Front-facing, stylized gas mask rendered as a glossy sculptural object in white and deep blue. The mask has large circular goggles and two wide filter canisters on the sides, with mechanical tubes arching upward like horns. Blue porcelain-style decorative patterns resembling splashes or floral motifs appear across the top of the helmet. The object sits centered against a light gray background, giving it the appearance of a futuristic ceramic artifact.

Symmetrical front view of a gas mask with oversized round goggles and two large cylindrical filters on each side. The mask is white and cobalt blue, decorated with delicate blue porcelain-like patterns on the helmet and nose area. A thin headband-like frame arches above the head. The object appears smooth and glossy, like a sculptural design piece, set against a dark gray background.

Front-facing gas mask with large circular lenses and twin side filters, designed in white and deep blue with intricate blue decorative motifs across the helmet. The helmet features stylized illustrations resembling octopus-like shapes and abstract figures. A black handle-like arch rises behind the head. The mask appears polished and sculptural, centered on a pale gray background.

└⦿✚⦿┘ ko-sometsuke 古染付
intima.org/o-o

A man dressed entirely in black, wearing round turquoise-tinted glasses, stands outdoors beside a large bronze bust of Karl Marx. He rests one hand casually on the statue’s shoulder. The bust shows Marx with his distinctive long beard and thick hair. Behind them is a low stone wall and a small sculpture of a soldier, with bare tree branches above. Sunlight casts sharp shadows across the courtyard in Karl Marx House.

Three small souvenirs featuring Karl Marx are arranged on a shelf against a white wall. On the left is a translucent red miniature bust of Marx, and on the right a white plaster-style bust with his name on the base. Between them is a small red snow globe containing a portrait of Marx surrounded by white flakes. Plus a bright red postcard displays a simplified white portrait of Karl Marx with his recognizable full beard and hair. Beneath the image, in white text, the slogan reads: “Doubt everything.”

Two purple souvenir banknotes lie on a white background. The front note shows a portrait of Karl Marx with the text “Trier – Karl Marx” and “Euro Souvenir,” while the note behind it shows part of another design.

A pair of white socks with red toes and heels is folded on a white surface. The socks feature a black line drawing of Karl Marx’s bearded face near the cuff and the signature “Karl Marx” written across the foot in black script.

Trier, Rheinland-Pfalz. Karl Marx's birthplace. Every pilgrim to their own. I bought all the merch.

Kaleidoscopic pattern made from mirrored fragments of a classic 1990s computer interface. Blue triangular panels radiate from the center like a six-pointed star, surrounded by repeated grey toolbars and buttons labeled “Help” and “100%.” Small icons, arrows, and window controls form a symmetrical, mandala-like design that resembles a mechanical flower made of old Windows-style menus.

A radial, star-shaped kaleidoscope built from pieces of a vintage graphical user interface. Blue V-shaped sections point toward the center, bordered by rulers, sliders, and tiny triangular buttons. The interface elements repeat in a six-way symmetry, creating the impression of a geometric star made from toolbars and dialog controls.

Symmetrical digital collage formed from parts of an old desktop application interface. Blue rectangular panels radiate from a small hexagonal center, while menu labels such as “File,” “Edit,” and “Arial” repeat around the circle. The mirrored windows and toolbars create a structured, wheel-like pattern with pale grey backgrounds and thin black lines.

Complex kaleidoscope pattern composed of mirrored fragments of a 1990s text-editing program. Blue triangular panels alternate with toolbars showing icons and labels like “Times New Roman” and “10.” Rulers, formatting buttons, and menu bars repeat in a precise radial symmetry, forming an intricate starburst made from retro computer interface elements.

🟦 🔵 ⚪ ⬜

#windows #kaleidoscope #windows31 #msword #msexcel

Screenshot of the early video-conferencing program CU-SeeMe running on a classic System 7 desktop from the mid-1990s. The grey Macintosh desktop shows nine small video windows arranged in a grid, each displaying black-and-white television-like static instead of clear images. Beneath each window are tiny control icons for camera, audio, and connection status, along with technical readouts such as frame rate (for example “3.9 fps”) and very low data speeds like “36 Kbps,” reflecting the slow internet connections of the time. On the left side, a small control panel with sliders and checkboxes labeled “Send,” “Rec,” and “Lurkers” is open. The background desktop contains scattered classic Mac icons for files and folders, including items like “Documents,” “Mac Aerobics,” and the Trash can in the lower corner. The interface is monochrome and pixelated, typical of early 1990s computer software and the experimental era of internet video communication.

Zero content. Full signal.
(CU-SeeMe, 1994) 📡📺

NON-ART A freely accessible version of the Large Language Model was instructed to write a short essay on non-art entirely on its own, in a single nonchalant sweep and without any human intervention, whethe…

NON-ART
a=tF²: Non-Art as the Product of Time and the Square of Force

intima.info/2025/08/15/n...

Non-art is both the precondition and the consequence of its own construction: it presupposes the inevitability of representational failure, and it reproduces its own negation as a mode of persistence.

Netart repository – Wikibase entries in progress:
netart.wikibase.cloud/wiki/Wikibas...
[03/03/2026]

netart repository is an online knowledge and data base of Zentrum für Netzkunst in Berlin. The initiative explores the possibilities of archiving, contextualising and mediating net art.

Inside a large, white modern art gallery with high ceilings and tall windows, a monumental inflatable sculpture fills the room. The sculpture depicts a stylized figure wearing a black helmet with two antenna-like shapes on top and a large gas mask. The eyes glow bright turquoise, matching a turquoise symbol and dashed line on the helmet. The gas mask has a round filter with small white circular details, and two large cylindrical filters extend from each side. The lower half of the sculpture is a massive white, rounded inflatable base with visible stitched seams. Three adult visitors stand on the gray concrete floor in front of it, looking up, emphasizing the enormous scale of the artwork.

Watch out for false artists. They come to you in artists' clothing, but inwardly they are lifeless algorithms.
— Mathview 7:15

A dark, moody forest scene in blue and teal tones fills the image. Tall, slender tree trunks rise vertically, their branches forming a dense canopy overhead. Mist or fog hangs in the air, creating a hazy, atmospheric glow with soft light filtering through the trees from the background. Centered in the upper middle of the image is a large square area that is heavily pixelated in shades of turquoise, teal, gray, and black, obscuring whatever is behind it. At the bottom center, bold white geometric text reads: DE-ALGO-ID. Below it, in the same white, blocky, futuristic font, appears #01000110. The typography is sharp-edged and modern, contrasting starkly with the organic, shadowy forest backdrop.

The exhibition that no human saw is now terminated.

DE-ALGO ID #01000110 🌳 De-Algorithmized Identity 📍 forest, 8-28 FEB 2026
intima.info/2026/02/02/0...

I've found love in a hopeless place.

Stylized graphic of a retro computer window with a gray interface and classic menu bar reading “File,” “Edit,” “View,” “Insert,” and “Help.” In the top left are three square icons resembling a blank page, a folder, and a floppy disk. Below the menu is a horizontal ruler with tick marks, a small hourglass icon, and a plus symbol button. Scroll bars with arrow buttons appear on the right and bottom edges of the window. Centered inside the window is a bold black illustration of a helmeted figure wearing a gas mask with two large round filters angled outward. The goggles are bright turquoise, each featuring a turquoise anarchist “A” symbol inside. The helmet has a turquoise cross on the front and a dotted turquoise line across it. Two antenna-like shapes extend upward on either side of the helmet. The background is light gray, and the overall style is flat, high-contrast, and graphic, with black and turquoise as the dominant colors.

Theoretically, I'm Ⓐgainst everything!

└⦿✚⦿┘

Black background with a cyber-retro aesthetic in turquoise and light gray pixel typography. Top left shows a rounded square icon: a stylized person wearing a gas mask and headphones, with a medical-style cross on the headband, colored turquoise and black on white. To the right, large turquoise pixel text reads "igor Š." with smaller gray text below "intima.org". Below, vertically stacked menu words in alternating turquoise and gray: news, nonart, exhibitions, selected, notes, cvindex. On the far right edge, a vertical column of gray outline icons: satellite dish, radio signal antenna, television screen, folder, and floppy disk.

Split vertical background, left side turquoise, right side black. Across the top in black pixel text: DIALING UP ... 56K ... AUTHENTICATING. Center shows a small pixel-art scene: an old desktop computer connected to a checkered turquoise telephone modem, with a white hand cursor next to it. Along the bottom in black pixel text: CONNECTING ... V.90 OK ... LOGGING IN.

Split vertical background, left turquoise strip and large black area. Across the top in turquoise pixel text: DIALING UP ... 56K ... AUTHENTICATING. Center shows the same pixel-art desktop computer and telephone modem, with a white hand cursor. Beneath it, turquoise pixel text reads: intima.org. Along the bottom in turquoise pixel text: CONNECTING ... V.90 OK ... LOGGING IN.

My website remains fully active as a central resource for all projects, exhibitions, and research. It covers everything from 1996 to the present and features a collection of works, exhibitions, and references. Everything in one place.

➠ intima.org

Not that it matters, but now you know.

⠂⠂⠁ A friend is typing a comment...

If I'm properly dressed, I look almost like a true artist.

Front view of a small plush character on a plain light grey background. The toy is mostly black with a white belly, shaped like a round, squat robot or creature. It wears a black helmet marked with a glowing turquoise cross and short turquoise dash lines on both sides. Two short antenna-like sticks with ball tips stick up from the sides of the head. The face is covered by a round black respirator mask with a circular filter full of small light grey dots. Large circular turquoise eyes glow behind the mask. On both sides of the mask are oversized round filter canisters with white rings. The surface looks soft and velvety.

Back view of a small plush toy on a plain light grey background. The head and body are black with a vertical seam running down the center. Two short antenna-like stalks with round tips extend from the sides of the head. The lower body shows a white belly panel wrapping around to the back. The arms and legs are short and rounded, black with white stripe accents near the arms. The toy stands squat and symmetrical, with a soft fabric texture visible. The surface looks soft and velvety.

Me, plush. 🧸 Make tøys pølitical again!

└⦿✚⦿┘

intima.org/o-o

:ǝsɐɔ uᴉ ʇsnɾ
intima.org/_

DE-ALGO ID #01000110 YouTube video by igor

DE-ALGO ID #01000110 🌳 De-Algorithmized Identity 📍 8-28 FEB 2026

▶️ youtu.be/2GkDu5tur6s

The sculpture is positioned within a cluster of non-human entities and indifferent, non-artistic matter. When matter is indifferent, the object finally becomes autonomous and no longer needs to perform.

Black and white photo taken in a gallery space with plain white walls and floor. A man sits wide-legged on a small white stool. He wears a white one-piece jumpsuit, black socks and black shoes. Large black over-ear headphones with a coiled cable run down to a PC 286 desktop computer with a monochrome black-and-white CRT monitor placed between his feet. On the screen appears a bold logo PRSI and the text OKITENE Z VENCI VRTNIC. On the computer case is a sticker with PRSI. On his chest badge reads INTIMA and below it Igor Štromajer. He looks directly at the camera with a serious expression, hands clasped.

Color outdoor photo from winter in Berlin. A man stands on a metal base next to a tall white vertical banner that reads "transmediale 99" in brown letters and "internationales medienkunstfestival berlin", with a yellow graphic at the top and a brown arrow pointing right at the bottom. He wears a long black coat, black gloves, black shoes and a gray hat. Behind him are leafless trees, a large historic building with a red roof, a parked white van, and a street sign reading 30 ZONE.

Sorry for the vulgarity. In the first photo, that's me in 1995 in Ljubljana.
In the second, I'm in front of Podewil in Berlin in February 1999 at @transmediale.bsky.social 99, where I performed my Oppera Teorettikka Internettikka.

📲 transmediale.de/en/festival/...
📲 intima.org/oppera/oti

Don't trust any artist over 30! They already know the system.

The Rejection of the Human Gaze:

DE-ALGO ID #01000110 🌳 De-Algorithmized Identity [test exhibition] 📍 forest, 8-28 FEB 2026

📱 www.tiktok.com/@iintima/vid...

[info] intima.info/2026/02/02/0...

In the foreground, a small humanoid robot sculpture stands on a white pedestal. The robot is black and white with visible wiring, circuit boards, motors, and mechanical joints, and has a rounded head with large, goggle-like eyes. In the background, the same white gallery wall is visible with several framed shadow boxes containing disassembled electronic components arranged like technical specimens. The lighting is focused and museum-like, creating strong shadows.

A red upholstered couch with wooden legs stands against a white gallery wall. Above it hangs a large, horizontally oriented screen or framed digital print. The display shows a TV test-pattern–style graphic with color bars (yellow, cyan, green, magenta, red, blue), gray calibration blocks, grids, and scan lines. Overlaid in blocky, pixel-like letters is the text “EAST UN BLOC.” The overall scene resembles a media-art installation in a gallery lounge area.

A white gallery wall with multiple deep, white shadow-box frames arranged asymmetrically. Inside each frame are neatly laid-out electronic components: green circuit boards, chips, ribbon cables, camera modules, small speakers, floppy disks, and other disassembled device parts. The objects are mounted on white backgrounds, evenly spaced, and lit from above, emphasizing their shapes and technical detail.

Final days to catch the EastUnBloc exhibition in Berlin and my work 101.72 MB:
ngbk.de/en/programm/...

– reclaiming Experimental & Subversive Media Practices 📍 nGbK am Alex · until 15 FEB 2026
intima.info/2025/11/01/n...

Curated by Berecz, Gravenor, Günther, Barok, Bochow
monoskop.org/EastUnBloc