The Slovenian media artist and curator discusses his networked environmental sculptures and data transparency in the age of climate change
Igor Štromajer’s hybrid installation ƒ(x)=ax³+bx²+cx+d*, realised together with German art historian and curator Sakrowski, opens at the Aksioma project space in Ljubljana. The titular cubic function is expressed in a 1 m³ concrete cube balancing on one of its vertices, as did the cube in the iconic GIF animation the Slovenian net artist (also known as intima) created in 1996. Through AR, the two can exist together (image), traversing materiality, technologies, and time.
Ben Grosser’s solo exhibition “Software for Less” opens at Aksioma, Lubljana, as the final chapter of a four-part program on “New Extractivism.” The American artist and programmer whose works examine how clicks, likes, and endless notifications fuel our “appetite for more” presents several recent software provocations that “produce less profit, less data, and fewer users.” Case in point: Minus (2021), a social network that limits users to 100 posts—for life.
A physical articulation of invisible data flows, Mario Santamaría’s Unfixed Infrastructures and Rabbit Holes (2020) opens at Aksioma, Ljubljana. The Spanish media artist programmed a “rabbit hole” network to cycle signals through different geolocations, seeking the maximum possible route allowed by network protocols. The delay—a measure of the materiality of digital time—is visualised by two screens video-streaming a Foucault pendulum, one connected to the gallery WiFi, the other to the “rabbit hole” network.
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