2018
| Cyfest 11 | Stieglitz Academy | St.Petersburg, RUS |
| Innovation as Method | Hermitage Museum | St.Petersburg, RUS |
| Vienna Contemporary | Solo Booth | Vienna, AUT |
| Prototype #3 | Kuryokhin Center | St.Petersburg, RUS |
| Future Unhuman | Quartariata Residency | St.Petersburg, RUS |
| Ákkta | Anna Nova Gallery | St. Petersburg, RUS |
| To Touch The Sky | NCCA | Kalinigrad, RUS |
| Open Codes | ZKM | Karlsruhe, DEU |
| Ars Electronica | The Galleries | Linz, AUT |
| Impakt Festival | Utrecht, NLD | |
| Sciencefest | Russian Railways Museum | Saint Petersburg, RUS |
| Pulsar Art Prize | Paris, FRA | |
| Daemons in the Machine | MMOMA | Moscow, RUS |
| The New State of Living | PERMM | Perm, RUS |
2017
| Art Athens: Citizen 6 | Athens, GRC | |
| Innovation Prize | MUAR | Moscow RUS |
| The New Normal Showcase | Strelka Institute | Moscow, RUS |
| Parallel Vienna | Format.STRK | Vienna, AUT |
| Citizen 6 part of Art Athens | Athens, GRC | |
| Ambient Intelligence | Enclave Gallery | London, GBR |
| Prototype #4 | Kuryokhin Center | St.Petersburg RUS |
2016
| Rodchenko Art School 10 Years | MAMM | Moscow RUS |
| Deep Inside, V Moscow International Biennale for Young Art | Tryokhgornaya Manufactory | Moscow RUS |
| Art Prospect Festival | St. Petersburg, RUS | |
| All Eyes On Me | Pechersky Gallery | Moscow, RUS |
| Playroom | Union Studios | London, GBR |
| Itinéraire Bis | Salon-de-Provence, FRA | |
| Felt Book | Human Resources | Los Angeles, CA, USA |
| Corridor I: Onkalo | Insitu | Berlin, DEU |
| Felipe Castelblanco’s Program | Royal Academy America | NYC, USA |
| CYFEST Digital Media Program | Bogota, NYC, St.Petersburg, Mexico |
2015
| Wanderings 2.0 | Rundum | Tallinn, EST |
| What to say if there is nothing to say | Udarnik | Moscow, RUS |
| Musing the Boundaries | Kuryokhin Center | St.Petersburg, RUS |
| 'Pop Mechanics' Trail | Kuryokhin Center | St. Petersburg, RUS |
| CYBERFEST | Salon Leisure and Fantasy | Bogota, St. Petersburg, Berlin, London, Vilnius, Moscow, New York |
2012
| Kiev Biennale: Apocalypse & Rebirth | National Museum Of Russian Art | Kyiv, UKR |
| Originalcopy | Fluc am Praterstern | Vienna, AUT |
| 5th International Art Moves Festival | Toruń, POL | |
| Now is Just Right Now | Taiga Space | St. Petersburg, RUS |
| No Translation | Museum for Applied Arts | Moscow, RUS |
| Night at the Museum | New Tretyakov Gallery | Moscow, RUS |
2011
| Infiltration Series 6 | Paradiso | Amsterdam, NDL |
| Ribbons | The Galleries | Sydney, AUS |
| INDI_VISUAL | Multimedia Art Museum | Moscow, RUS |
| Insight & Foresight | Garage Museum | Moscow, RUS |
2008
| State of Mine | Gerlesborgskolan, SWE |
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I couldn’t really post about it earlier. I was devastated and speechless when I realized the extent of this bloody military invasion back in early 2022. I still am, and from today’s point of view, it’s better to call it the beginning of a full-blown horror that seems to have no end, only a downward spiral with cascading catastrophic consequences for all the hostages of this bloodshed and humanitarian meltdown.
I don’t think we should let our lives and practices be normalised coexisting alongside this bloody dynamic. And I’m glad I was able to do some reactionary activist work, as well as some artistic input to keep myself sane as I watched the harrowing events unfold. I’d like to share the latter with you, though please forgive me if this comes across as blatant self-promotion.
My work Content Aware Studies won the New Technological Art Jury Award in 2022, followed by an exhibition in the Belgian city of Ghent. The biennial award will be held again this year and I wish all the best to those whose work will be judged. I was lucky enough to win the jury prize last year. The other shortlisted and exhibited work was extraordinary. Not to mention the remarkable list of artists, many of whom I have exhibited alongside for years or whose work I am a fan of.
Past nominees and winners of the @ntaa_newtechnologicalartaward have included the likes of Sol LeWitt, Nam Jun Paik, Chris Cunningham, Peter Kogler and many colleagues whose work has inspired and influenced me. I remain very grateful to everyone who has contributed to CAS and supported me. The video shows the Content Aware Studies Series installed at @zebrastraat alongside other shortlisted works
I`m in Paris this week to install the show THE NEXT RENAISSANCE LE GÔUT DE L`INVISIBLE at Goethe-Institut Paris curated by @schoggivstock and produced by @zkmkarlsruhe
The exhibition includes works by Zbyněk Baladràn (CZ), Thijs Biersteker (NL), Michèle Boulogne (NL), Thomas Feuerstein (AT), Linu Grönlund & Okku Nuutilainen (FI), Rafael Lozano-Hemmer (CA), Manfred P. Kage (DE), Egór Kraft (AT/JP), Dorcas Müller (DE), Joel Ong (CA), Jean Painlevé (FR), Helen Pynor (AU) and Joel Sherwood-Spring (AU)
#kraftblog
Over the course of last year and also very recently I had a privilege and some quality time engaging with the students during my course on Art and Image in the contexts of Ai’s at the Linz’s University of Arts, visual communication department. The course has developed and calibrated over the years of performing it in various educational contexts, and I’m looking forward to continuing it soon at the Chinese Academy of Art in Hangzhou. I remain deeply thankful to the brilliant viskom faculty of Linz’s Kunstuni, (a city and uni not alien to art forms engaging with the new technological conditions) #kraftblog
I’m back in ęüřøpẽ and after some escapist time, setting a new home in Tokyo, glad to revitalise this feed with the glimpses from the recent panel at @strpeindhoven festival. Massive thanks go to @baltanlaboratories who organised it and the brilliant speakers Ramon Amaro and Ianis Dobrev. #ontour #kraftbloggers
Traditionally, approximately 15 minutes before landing in Tokyo, I take a picture of Mt. Fuji from my aircraft window. Here’s a fresh one and a handful of others from past trips. Kon`nichiwa to my favourite city on earth.
#kraftblog #fuji
Here’s my portrait feature altered by an Ai (artificial idiocy) in Vienna’s biannual Kultur Magazine by @diepresse published this October. Big thanks goes to @tenul_ and @charimgalerie
#kraftblog
If in Brussels, join us tonight for the opening of the exhibition CODE & ALGORITHMS. WISDOM IN A CALCULATED WORLD at @imal_brussels
Curated by Manuela Nuveau
Featuring:
Kyriaki Goni · Clara Boj & Diego Diaz · Mushon Zer-Aviv · Trevor Paglen · Manu Luksch · Shinseungback Kimyonghun · Danja Vasiliev · Egor Kraft · Ahmed Jamal Abdelkader & Simon Weckert · Barcelona Supercomputing Center #ontour #kraftblog
I`m genuinely honoured to receive the Lumen Prize this year and I couldn’t be more grateful to everyone I collaborated with on this series of works. I`m saddened and perhaps even devastated I wasn`t given a chance to attend the ceremony. The UK Immigration bureaucracy considered my visa application to not be straightforward, which leads to undefined duration in processing time. As a holder of a Russian passport, for the past 14 years, I have been wrestling with the western immigration bureaucracy, while living, studying, and working in England, Austria, Sweden, and Japan. I was on this escapist train, looking for a place, where I could be inspired and focus on my work, running away from unjustness and limits on what I could possibly do, should I have chosen to remain in my home country. I think many of us agree that art and culture can and should operate across borders as a humanist project in the first place.
And what are borders anyway? What are international policies that regulate them? A set of very old political ideas that emerged as a result of decades—long wars, famously formulated in a Peace of Westphalia treaty? A seriously old doctrine from the seventeenth century, still serving as a model for running the world? Although perhaps we have more novel ideas and models of organising, dividing, scaling and addressing it, one of which is the internet. As a planetary infrastructure, it suggests a very different political model of participation to what was derived from the nation states. I naturally became native to it, being able to operate across borders and limits posed by the dark bureaucratic aspect of my life. Evidently, to this date, the nation state relationships keep producing a lot of distress and sorrow.
It’s an honour to receive my award in the crypto category; crypto and web3 as a set of technological stacks built on top of the internet and arguably leading its next evolutionary phase. I hope one day we will have a lot less of these tangible and limiting borders to enjoy more of what we can of being humans. I would like to dedicate this award to the past and future of a free and unrestricted Internet. #kraftblog
Hot from the press, the newest issue of the brilliant Neural magazine (@neural_mag) features, amongst other things, our in—depth conversation on synthetic cognition, new memory architectures and a deep dive into an extensive bit of my work. I am honoured and humbled and honoured and humbled and h…
#kraftblog #press
It’s raining like cats and dogs in Kyoto tonight #ontour
A few sneak peeks into what occupied me mostly after February 2022 and what it brought upon us. Hashd0x — our collaborative open source and hacktivist software project and my recent work Proof Of War based on this tech stack. The work has been presented at this year`s Ars Electronica festival and received S+T+ARTS Prize Honorary mention, an award initiated by the European Commission that honours projects that demonstrate the successful integration of science, technology, and art to contribute to social and economic innovation.
Hashd0x & Proof of war Raspberry Pi based camera, custom-built software, mobile app, smart contract, web platform, LED screen, smartphone, server rack.
Hashd0x (spelled [hæʃdɑːks]) is a tactical software, designed to combat disinformation by enabling instant and spoof-proof on-chain evidence capture and forensics tools through hashing content and data and storing it on blockchains.
Proof of War showcases a 3D model of the remnants of a house in Borodyanka, the most destroyed city in the Kyiv region during the ongoing war in Ukraine. The images used to produce the photogrammetry based 3D-scan are captured via the hashd0x software on mobile and drone operated cameras. They will remain forever stored on the blockchain uncorrupted, uncensored and dated. Thereby, creating an on-chain memorial to the atrocities of war crimes and a prototype for an alternative methodology of documenting and archiving records of historical significance.
The project was supported by IDSA x @arselectronica FOUNDING LAB, Polycular, European Federal Ministry, Republic of Austria Education Science and Research, European Media and Information Fund, Creative Europe programme of the European Union, @wkowien & the Austrian Blockchain Award
Keywords #hashd0x #misinformation #post-truth #fakenews #blockchain #web3 #tactical #opensource #investigation
Content-aware-fill the gaps within historical records, like one fills a selected area of pixels in common image editing software. Or do not. Augmentation of any knowledge with synthetic epistemics of computed automations is inevitable. Or is it?
Content Aware Studies is currently on view at @charimgalerie Dorotheergasse in Vienna as part of the @curatedby.at festival, actually curated by @julesandaet
Marble, polyamide, machine learning algorithms,
3D scanning, 3D printing, video installation;
Began in 2017, the series of works is an inquiry into reverse-archeology via technologies of artificial neural networks & machine learning systems to reconstruct missing fragments within the sculptures of classical antiquity as well as to exercise speculative object-oriented historicism of never-existed, yet algorithmically genuine, documents of synthetic histories.
As always I remain beyond thankful to everyone who worked with me on this series over the years. #kraftblog #contentawarestudiesseries
Egor Kraft
Born 1986 in St. Petersburg, Russia, lives and works in Vienna & Tokyo
Web: kraft.studio | studio.work | wwww.work
Email: mail@kraft.studio
Platforms: @egorkraft
Instagram / Twitter / Vimeo
BIOGRAPHY
Egór (George) Kraft is an investigative, interdisciplinary artist & researcher. Born in St. Petersburg, Russia he lived most of his life nomadically having studied in Swedish Gerlesborkskolan, Moscow Rodchenko School, Vienna Academy of Fine Arts, London’s Central St. Martins College, Strelka Institute in Moscow & Tokyo Geidai University. He currently lives and works in Tokyo and Vienna. His research-driven practice is informed by media studies, computer science, critical design, film, philosophy & art. Kraft is a laureate of Lumen Prize 2023 [UK], S+T+ARTS prize honorary mention 2023 [EU], New Technological Art Award 2022 [BE], Austrian Blockchain Award 2022 [AT] and a nominee for Kandinsky, Innovation & other prizes and participant of international residencies & fellowships. He participated in exhibitions in private & public institutions, biennials & festivals internationally, including Ars Electronica [AT] & Impakt Festival, [NL], ZKM [DE], MAXXI [IT], Onassis Foundation [GR], Hermitage Museum [RU], WRO Biennial [PL], Espacio Fundación Telefónica [ES], iMAL [BE] & others. He is a lecturer at Kunstuniversität Linz [AT], author of essays & speaker at international conferences. He is a founder of research studio wwww.work
ON PRACTICE & RESEARCH INTERESTS
Aesthetics of industrialisation, shock-&-awe campaigns, tactical trickery between facts & fiction, fully automated ruralisms, speculative narratives, thought-objects prototypes, deep timescales, proto-continental geographies, self-declared enclaves & self-sovereign networks, ultra-wideband connectivites, exponentially increasing capacities, monopolised data echo chambers, media geologies, logistics & information superhighways, techno-organic bodies, politics of planetarity, synthetic cognitions & sensations, quantitative machine-rendered regimes, non-human agencies, ultrasonic interventions, big-time proposals, ambient security protocols, new memory architectures, unfettered data collection regimes & wholesale surveillance, digital autocracy circumventions, unstable climates, feedback loops, genetic machine developments & more.
All these and many other cognitive perspectives reconstitute the aspect of what we define as human in a new geological epoch. In how far is this aspect subject to technology? Is it recognised as autonomous, unpredictable, divergent or diverse? How does it coexist along with the ever-growing order of machine rendered regimes? A further investigation of these industrial conditions suggests new political, ethical, philosophical & aesthetic challenges. How are these challenges manifested within the artistic production, as in primordially ‘human’ project? And does the notion of a ‘human’ project necessarily suggest its human-centric nature? In my work, I'm concerned with the ontologies of human and non-human agencies, epistemics of technologies often expressed in a form of speculative models or thought–object experiments and dynamic community operated networks. It involves artificial information systems, computational technologies, films, interventions, texts & various material productions. Via speculative narratives, I tend to highlight frictions between the human reasoning and quantitative orders rendered by machines, industrialisation & anthropogenic interventions at large.