igor štromajer · intima.org

@intima.bsky.social

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http://intima.org/stromajer „le Pavarotti du HTML“ · homo ex machina · low-tech post-electric non-artist · artworks in the Centre Pompidou & Museo Reina Sofía collections · a=tF² · https://intima.org · intimate tactical guerrilla + low-tech net strategies

A stylized retro-futuristic landscape beneath a star-filled night sky. A massive glowing sun dominates the horizon, rendered in horizontal bands that shift from bright yellow and orange at the bottom to pink and magenta at the top. In the foreground, undulating blue mountains and rolling terrain are formed by hundreds of luminous contour-like lines, creating a fluid, wave-like appearance with neon blue, purple, and pink highlights. The scene is highly symmetrical and evokes the visual style of 1980s synthwave and vaporwave digital art.

A minimalist abstract painting featuring a large deep red square set against a plain white background. The square is slightly off-center and subtly tilted, with softly irregular edges that reveal its hand-painted character. Its matte, velvety surface absorbs light, creating a quiet sense of depth despite the absence of shading or perspective. The composition contains no figures, objects, or decorative details. The striking contrast between the saturated red square and the surrounding white field focuses attention on color, form, and spatial tension, evoking a restrained yet powerful visual presence.

Two people pose for a selfie in bright sunshine outside Schirn Kunsthalle Frankfurt. One person wears round black sunglasses with turquoise mirrored lenses and a black shirt, while the other wears a light-colored sun hat, purple sunglasses and a pale scarf. Both hold a hand above their eyes to shield themselves from the sun. Behind them, the large "SCHIRN KUNSTHALLE FRANKFURT" sign is mounted on a metal structure in front of the museum's brick façade.

A minimalist visual poem on a plain white background. Fifteen lines of black serif numerals are aligned along the left side, with generous empty space on the right. The lines read, from top to bottom: “003”, “999300”, “11029977”, “00 001”, “0111997”, “77001”, “001177”, “99990013”, “37731”, “011199777”, “007731”, “7770”, “11009”, “7990110”, and “7991”. Near the bottom left, in italic serif type, the caption reads: “003 by Igor #352;”. The composition is stark and monochrome, emphasizing the arrangement and rhythm of numerical sequences rather than conventional language.

A surreal beach scene shows a shirtless, muscular person standing on the sand wearing black Adidas shorts, white gloves, black combat boots, and a futuristic black helmet with turquoise lights and a gas mask. Behind them, two people stand in the turquoise sea, while a cave-like space contains stacks of vintage CRT monitors and electronic equipment beneath framed photographs. Black text in the lower left reads: LOADING BEACH BODY, above a nearly full loading bar, followed by PRESS ESC TO CANCEL. The image combines elements of beach holiday imagery, retro computing, cyberpunk aesthetics, and dark humor, contrasting an idyllic seaside setting with a masked, machine-like figure and obsolete technology.

Portrait photograph of a bald man with a short white goatee standing in front of a shop window. He wears a loose black buttoned shirt and oversized round black glasses with turquoise-tinted lenses. In his arms he holds a large blue book titled DUCHAMP, featuring an image of Marcel Duchamp’s white porcelain artwork Fountain on the cover. Behind him, visible through the glass, is a large, brightly colored digital portrait of a futuristic woman with a platinum-blonde bob haircut. The woman wears oversized neon-pink circular glasses with intricate mechanical details inside the lenses, red lipstick, and a yellow perforated collar against a red background. The shop window is decorated with wide vertical red-and-white stripes and delicate transparent crystal-like ornaments arranged in curling patterns. Reflections in the glass reveal parts of the street and interior lighting, creating layered visual effects. The contrast between the man’s dark clothing and the vivid, cyberpunk-style portrait behind him gives the image a striking contemporary-art atmosphere.

Square-format image with an aged off-white border surrounding a large black square in the center. The black square has a cracked, weathered texture resembling old paint or craquelure. Over the black area, bold white text reads: 1. Support & Tools: - 4 unpainted pine or spruce stretcher bars, 79.5 cm; - raw, unprimed linen canvas, 100 cm x 100 cm; - 40 traditional blue steel upholstery tacks; - 1 small carpenter's hammer; - 1 pair of fabric shears. The composition resembles a technical instruction slide or materials list presented on a distressed black square against a pale background.

Wide view of a contemporary gallery space with white walls, light wooden flooring, and bright ceiling spotlights. A large wall installation features numerous white-framed artworks arranged in an intentionally irregular composition. The works include disassembled computer components, circuit boards, electronic parts, and technology-themed images displayed against white backgrounds. Near the center, a small black-and-white robot sculpture stands on a white pedestal. The minimalist exhibition setting emphasizes the contrast between clean architectural lines and the intricate technological objects presented as artworks.

Close-up photograph of a vintage mechanical typewriter with a sheet of paper inserted. Typed on the paper are the lines “<!doctype html>” and “<html”, combining old analog writing technology with early web code. The metal type bars, ink ribbon, and curved inner mechanism of the typewriter dominate the foreground, while the paper and code appear sharply lit against a dark background.

(1988) A younger Igor Štromajer sits beside the bronze Bertolt Brecht statue at Bertolt-Brecht-Platz in Berlin in an older color photograph with a warm, slightly faded tone. Wearing a loose dark T-shirt, jeans, and white sneakers, he leans toward the statue with one hand raised in a conversational gesture, as if speaking to Brecht. Trees and a corrugated metal fence appear in the background, and the image has the look of an aged snapshot.

Close-up of white cross-stitch fabric with decorative blue folk-style embroidery borders at the top and bottom. In the center, the phrase "I need more data" is stitched in red thread in a pixel-like cross-stitch font. A sewing needle with red thread attached lies across the fabric on the right side, suggesting the text is still being embroidered. The lower border features repeating blue deer motifs and geometric patterns.

Three visitors stand closely together in a contemporary gallery space, viewed from behind as they look at a wall installation of framed electronic components and circuit boards. A small robot-like sculpture made from wires and mechanical parts stands on a white pedestal to the left. The white gallery wall is filled with carefully arranged artworks resembling computer motherboards, chips, and dismantled hardware. Warm ceiling lights illuminate the minimalist exhibition space.

Small humanoid robot sculpture displayed on a white pedestal in a gallery space. The robot has oversized cartoon-like eyes, exposed wires, mechanical arms, and black-and-white segmented limbs. Behind it, framed computer parts and electronic components hang on the white walls, creating a minimalist technology-themed exhibition setting.

Black-and-white illustration of a server room filled with tall racks of computer equipment on both sides. In the center, a large rectangular screen displays glowing cyan symbols: a minus sign, a plus sign, and a colon, arranged horizontally. Below the screen are several standalone machines with cables and control panels. The floor is tiled, and exposed pipes run across the ceiling. The overall style is graphic and high-contrast, with the cyan symbols as the only color accent.

The exhibition sees itself as a living experiment: it shows how technology can enable communication between different species and how democratic participation can be rethought - beyond a purely human-centered view of the world. At the same time, it remains critical: technology is not neutral. It consumes resources, can reinforce power relations and reaches its limits where natural systems cannot be reproduced in their complexity. The central component is Andreas Greiner's installation - a self-regulating ecosystem that connects plants, people and technological systems via water as a common resource. The work presents itself as a living testing ground for new forms of interaction between nature and technology. Other artists open up multi-layered perspectives on artificial intelligence, ecology and social responsibility. The exhibition combines art, technology and sustainability and asks how algorithmic processes can be made critically understandable and socially negotiated.

In photographs, videos, and installations, Kaya & Blank reveal the infrastructures that keep industrial societies running while simultaneously destroying them. Oil pumps, pipelines, and refineries produce fossil fuels; ports, container ships, and motorways enable the transport of goods; endless monocultures yield energy crops; data centres and radio masts make digital communication possible: modern societies are driven by systems that run non-stop. They span, shape, and consume the world and its limited resources. The night-time images by Işık Kaya and Thomas Georg Blank focus on these architectures of neoliberal industry. Their works bring to light the exploitation of raw materials by way of an intensive examination that employs early photographic techniques while also creating their own processes to expose their motifs on bitumen, sea salts, and living algae cultures.

Black-and-white graphic poster with large text reading “SHOW 1100: 74.48 dB(A) BY IGOR ŠTROMAJER FOR RADIO X.” Below the text is a stylized illustration of a long corridor of server racks in a data center, drawn in high-contrast black lines. At the center of the corridor, a glowing turquoise plus symbol hovers. At the bottom, a black bar reads “plus 74.48 dB(A),” alongside small playback-style icons and a waveform graphic.

Close-up view of the mirror: a bald person with round teal glasses looks directly into a phone camera while taking a photo. The mirror is held by someone in black gloves, whose body frames the reflection. The background shows raw concrete walls and a small colorful painting to the left.

Screenshot of a catalog entry from ZKM | Center for Art and Media Karlsruhe Library. The title reads “3|×Fń-Qé3=Mià+ : -o4x : sto in ena pesem = one hundred and one poems / Igor Štromajer.” A blue-highlighted box shows the catalog number (PPN 1947688030) and availability status marked “Verfügbar” (available). Additional fields list media type, location, call number, and loan period.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

[video] A leafless winter forest with a strong blue-green, teal, and cyan color cast. In the center, on a cut tree stump covered with white snow, is a sculptural human head mounted on a short white pedestal. The head wears a black military-style helmet and a black gas mask with two round, glowing cyan-blue eye lenses. Thin antenna-like elements extend from the helmet. Around the stump are several small metallic surveillance cameras on short silver-gray metal arms, directed outward in different directions. The ground is covered with dark leaves, moss, and patches of snow, all tinted teal. Bare tree trunks and branches fill the background, creating a cold, dystopian, post-apocalyptic atmosphere. Text: DE-ALGO ID #01000110, 8-28 FEB 2026.

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.

Wide shot of a leafless winter forest with a strong blue-green, teal, and cyan color cast. In the center, on a cut tree stump covered with white snow, is a sculptural human head mounted on a short white pedestal. The head wears a black military-style helmet and a black gas mask with two round, glowing cyan-blue eye lenses. Thin antenna-like elements extend from the helmet. Around the stump are several small metallic surveillance cameras on short silver-gray metal arms, directed outward in different directions. The ground is covered with dark leaves, moss, and patches of snow, all tinted teal. Bare tree trunks and branches fill the background, creating a cold, dystopian, post-apocalyptic atmosphere. In the bottom right corner, white digital-style text reads: DE-ALGO ID #01000110.

A dark, atmospheric digital graphic video set in a dense forest at night. Tall tree trunks and branches form a tunnel-like scene, mostly black and dark gray, with a cold teal-blue mist and light glowing in the center background. In the middle of the image is a large, stylized white head wearing a black-and-white gas mask, with two round eye lenses and filter canisters on both sides. The head and mask have a distressed, rough, paint-like texture with uneven edges. Below the head, centered near the bottom, is white, blocky, futuristic text that reads: DE-ALGO ID #01000110. The overall mood is ominous, cyberpunk, and dystopian, with strong contrast between the white figure and text and the dark forest background.

A close-up of a pair of hands holding open a bright yellow book over a table stacked with pale pink and beige books. The open pages are neon yellow with bold black graphic elements, arrows, and blocks. Visible printed text includes “CANADA,” “PAR AVION,” and “ar avion,” along with stamped and hand-drawn marks. On the right-hand page, there is handwritten black text reading “BLOOD IN THE PANIC HERE” (handwritten, uneven lettering). The person is wearing a blue sweater and a grey scarf, only their torso and hands are visible. The background shows neatly stacked books with minimal black typography on their covers.

A dark, atmospheric digital graphic set in a dense forest at night. Tall tree trunks and branches form a tunnel-like scene, mostly black and dark gray, with a cold teal-blue mist and light glowing in the center background. In the middle of the image is a large, stylized white head wearing a black-and-white gas mask, with two round eye lenses and filter canisters on both sides. The head and mask have a distressed, rough, paint-like texture with uneven edges. Below the head, centered near the bottom, is white, blocky, futuristic text that reads: DE-ALGO ID #01000110. The overall mood is ominous, cyberpunk, and dystopian, with strong contrast between the white figure and text and the dark forest background.

A close-up of a metallic award sculpture, consisting of a rectangular metal block with a protruding polished sphere. The sphere has dark, roughened, burned-looking areas on its surface. Engraved text on the base reads “Premio a la mejor obra de net-art.” The object is photographed from different angles against a plain background.

Black-and-white photo of a performer standing indoors against a plain wall. The person wears a shiny metallic silver suit, heavy black boots, and a futuristic helmet with attached devices and antennas that fully covers the face. An electric guitar hangs from their shoulder, with cables running from the guitar and suit to the floor. One hand is raised as if gesturing to an audience. Behind them are a keyboard on a stand, a laptop, a microphone stand, and several cables scattered across the floor, suggesting a live experimental music performance setup.

A middle-aged man stands facing the camera with his arms slightly spread. He wears a shiny silver, industrial-style jumpsuit covered in black straps, cables, clips, and connectors, along with black boots. On his head is a white helmet or cap with mounted electronics, and he wears round, reflective blue-tinted goggles. His expression is neutral and focused. Behind him is a dark, heavily graffitied wall or door covered with stickers, tags, and scrawled text, suggesting an underground club or industrial venue. The lighting is dramatic and moody, emphasizing the metallic outfit and gritty surroundings.

Close-up of the performer playing a compact keyboard with both hands. The silver suit reflects strong light, emphasizing its crinkled texture. The performer’s masked face and dark round goggles are visible above the keyboard, with wires and sensors attached to the helmet and clothing, suggesting a cybernetic or experimental music setup.

At night on a wet, snowy street in central Berlin, a street musician stands centered beneath the illuminated TV Tower at Alexanderplatz. The performer wears a shiny silver jumpsuit, a helmet-like mask with two glowing turquoise round goggles and small antennae, and red sneakers. They play an electric guitar and a small keyboard mounted on a stand, with effect pedals and cables spread on the ground. Trams and cars pass on both sides, leaving bright light trails, while modern buildings and streetlights frame the scene under a dark, cloudy sky.

A performer in a silver, reflective suit plays electronic music at a table with a laptop and synthesizer. Their face is covered by a futuristic mask with glowing blue lenses, antennas, and visible wires. A small audience stands close behind, watching the live performance in a gallery space.

A close-up of a damaged Renaissance-style painting of the Virgin Mary holding the infant Jesus. Mary wears a deep red cloak and bends her head gently toward the sleeping child, who rests against her bare chest with eyes closed and relaxed hands. Large sections of paint are missing from Mary’s face and hair, revealing rough brown wooden panel beneath, with cracks and peeling clearly visible. The child’s skin appears smooth and intact, sharply contrasting with the deterioration of Mary’s face. At the bottom, on a wooden surface, lie a small apple and a red berry, symbols of Christian theology. The background is dark, emphasizing both the figures and the visible damage to the painting.

An adult person stands facing the camera against a plain white wall. They are shirtless, wearing light-colored shorts, black gloves, and black lace-up combat boots. Their hands are clasped in front of their lower abdomen. The person wears a black helmet with two short antenna-like rods on top, reflective turquoise goggles, and a black gas mask covering the entire lower face. The posture is upright and symmetrical, with legs slightly apart, creating a stark, stylized, and somewhat dystopian appearance.

A beige, old-style CRT computer monitor shown at a slight angle against a solid black background. The bulky casing and curved glass screen emphasize its vintage design. On the screen, bright orange text reads: It's now safe to turn off your computer. Several physical control buttons are visible below the screen, reinforcing the retro technology aesthetic.

A winter mountain landscape seen through low-hanging evergreen branches heavy with fresh snow. The foreground is a smooth, white snowfield with a few thin twigs poking through. Frosted conifer branches frame the top and sides like a natural arch. In the distance, beyond the trees, a wide valley stretches out with rolling hills, forests, and pale patches of fields under a cloudy winter sky.

Nighttime highway scene photographed with long exposure. In the foreground, a multilane road curves slightly to the right, with continuous red and yellow light trails from passing cars. White roadside posts with black tops line the right side of the road, receding into the distance. Above the road, several large blue German autobahn direction signs are mounted on metal gantries. The signs are repeated multiple times, layered and slightly offset, creating a visual echo effect. The main readable text, split across multiple signs, reads: "Die Philosophen haben die Welt nur verschieden interpretiert es kommt aber darauf an sie zu verändern." The sentence is broken across panels, with the words appearing on different signs. White upward-pointing arrows indicate straight-ahead directions. The overall color palette is dominated by blue signs and vivid red and yellow light trails on the road. The image has a surreal, layered look due to the repeated signage and motion blur.

Black background with bright cyan, neon-like characters arranged horizontally near the bottom of the image. The characters look like a mix of letters, symbols, and diacritics, including umlauts and accents, forming an abstract, almost code-like sequence rather than readable words: ï¬fÖY+*tŕŰµ°. Under parts of the cyan text are red, wavy underline marks, similar to spellcheck warnings in a text editor. On the far right, a thin vertical cyan cursor line suggests active text input or editing.

A tight close-up of the LCD screen and surrounding electronics. The words “memory is a scam” appear in glowing green letters on a black screen. Part of a green circuit board and a flat ribbon cable are visible along the edges, highlighting the hardware behind the display.

A bright red upholstered sofa sits against a white wall beneath a large framed screen. The screen shows a graphic reading “EAST UN BLOC” in blocky, pixel-like letters, alongside color bars and grid patterns resembling a digital test image. The floor is dark and textured, and the scene feels like a gallery lounge area.

Two men stand at a small table in front of a green screen. One of them wears a white headpiece with antennas and large round blue-lensed goggles while working on a laptop covered with cables and small devices. The other man, wearing a gray beanie and glasses, watches him. Microphones, tripods, and a camera surround them.

A screenshot of an old Netscape 2.0 browser window. The page is gray and displays a large black title that reads "404 File Not Found". Below it, an italic message says, "The requested file could not be found on this server. It has been moved to another location and/or deleted". A small blue "back" link appears in the lower left. The browser frame shows retro buttons, menus, and a URL bar with the address "http://www.intima.org/".

A graphic made of a TV test pattern with colored bars in yellow, cyan, green, red, and blue. Large black pixel-like letters spell "EAST UN BLOC" across the grid. The background is a gray grid that resembles an analog broadcast test screen.