igor štromajer · intima.org

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

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.

The exhibition is activated. No audience required. Operational until 28 February.

youtu.be/2GkDu5tur6s

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

intima.info/2026/02/02/0...

The object has dissolved into the void of the late-winter forest.

DE-ALGO ID #01000110 [test exhibition] – De-Algorithmized Identity No. 01000110

intima.info/2026/02/02/0...

🌳 forest, 8-28 February 2026

The exhibition is situated deep within a forest, positioned at one of the rotating axis of Europe, where human presence is rare to non-existent.

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.

Correspondences – de Appel 1975–2025, Martha Jager, Hannah Cheney, eds., De Appel, Amsterdam, 2025

intima.info/2026/02/03/c...

— in her text "Subject -oµ4× [AD]: An Email Correspondence", Annet Dekker @aaaannet.bsky.social provides an analysis and contextual reading of my works -oµ4× & Expunction

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.

DE-ALGO ID #01000110 [test exhibition] – De-Algorithmized Identity No. 01000110
intima.info/2026/02/02/0...
📍 forest, 8-28 February 2026

The exhibition is structured to exist primarily for the environment, without the requirement of being seen.

There are no markers, signs, or directions provided.

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.

A computer screen showing multiple overlapping Mozilla Firefox windows. In the foreground, a small window displays a simple pixel-style animation of a woman and a man pulling each other by the arm. In the background, grayscale images of distressed faces and interface elements are visible, suggesting an interactive or browser-based net art work.

An exhibition stand at an art fair with white walls and signage reading “elmundo.es” and “net-art.” Several people stand and talk inside the booth. A wooden podium with a globe logo is visible in the foreground, along with informational panels and a computer terminal. The space is brightly lit and busy with visitors.

25 years: 4.2 kg of net art — A quarter of a century ago, in February 2001, I won the ARCO El Mundo Net Art Award at the ARCO International Contemporary Art Fair in Madrid for the best net art work. The statuette, which accompanied the cash prize, weighs 4.2 kg.
intima.org/expunction/c...

"My friends are always going to like my work. The great thing about the internet art community is that it's full of people who aren't my friends."

— Curt Cloninger, 2015, www.lab404.com

The most intimate, political, and radical artistic act today is the one you do without a cause. Or the one you don't do at all.

— "Hey, long time no see! Still an artist?"

— ¯\_ (⦾ఠ) _/¯

Illustrated comic-style scene on a light gray and white background. At the top left, a black rounded rectangle label reads in white capital letters: AT THE OPENING. Below it, two speech bubbles appear. The left speech bubble, coming from a curator, says: YOU'RE AN ARTIST?. The right speech bubble, coming from a masked figure, an artist, says: YEAH, BUT I KEEP A LOW PROFILE. On the left stands a woman with short, spiky turquoise-green hair. She wears large, angular gray glasses, purple lipstick, and a confident expression. Her outfit is a fitted black suit with neon green and purple geometric accents, a high collar, and matching black pants. She stands with hands on her hips and wears black high-heeled ankle boots. On the right stands a human-like figure leaning casually with arms crossed. The figure wears a white protective suit with black straps, black gloves, and black lace-up boots. The head is covered by a black helmet and gas mask with two glowing turquoise circular lenses for eyes and small antenna-like protrusions on top. A breathing filter is visible on the mask. Behind the masked figure is a beige, old-fashioned CRT computer monitor sitting on a matching computer case. The screen displays colorful digital noise or glitch patterns in bright pink, green, blue, and yellow. The overall style is clean, graphic, and slightly futuristic, with a humorous, conversational tone.

Every now and then, on special occasions, a curator approaches me. Definitions follow.

A beige, old CRT computer monitor sits on a white desk. A white keyboard is forcefully lodged diagonally through the monitor's glass screen, which is shattered with visible cracks radiating from the impact point. The monitor casing is off-white, with round control buttons and a circular power knob below the screen, and a small black-and-white skull logo sticker on the upper right corner of the monitor frame. White and gray cables run across the desk. To the left, part of another gray electronic device is visible. Papers are scattered on the desk in the foreground. At the bottom of the image, a black rectangular label with white text reads: 127.0.0.1 / 0:0:0:0:0:0:0:1. The overall color palette is muted, dominated by beige, white, gray, and black, evoking retro computer technology and a scene of deliberate destruction.

de-digitalization ✚ de-algorithmization

I don't really see much point in making art for humans. Art made for humans is overrated. There's far too little being produced for machines, not to mention other non-humans. That imbalance isn't accidental, it's structural, because it lies at the very core of what we, humans, understand as art.

Ask not what you can do for your country. Ask what your country can do for you!

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.

Pseudo-punk before a concert at @pankegallery.bsky.social Berlin.
intima.org/+
[Photo: Galya Feierman, January 2026]