Selected Works
Started in 2018, ongoing to this date
Artistic inquiry into technologies of artificial neural networks (AI) and machine learning to reconstruct missing fragments in sculptures and friezes from the periods of classical Antiquity as well as to generate never-existed, yet genuine documents of synthetic histories.
2022
hashd0x is a series of tactical open source soft- & hard-ware prototypes, designed to combat misinformation in photographic & video content. The software tools revolve around issuance and registration of instant & tamper-proof hashmark, blockchain native alternative of watermark and a proposed fix for our computationally accelerated & disturbed information ecology.
2023
Images of chairs were generated by a Stable Diffusion deep learning model from the prompt a single chair on a white background. The dataset was reused to retrain the model, as if to enhance its understanding of the given prompt. After six iterations, data cannibalism led the figurative chair image to become abstract digital noise, exposing susceptibility to corruption of computational ontology due to data feedback loops within Ai model echo chambers.
Started in 2011, ongoing to this date
An online intervention and mystification of a scientific breakthrough of a discovery of previously ‘non-existent’ colour. Presented in a form of a website of a fictitious American company, video ads and mockumentary interviews became a viral sensation attracting mass attention on the internet.
SELECTED WORKS
2018
The work investigates the longevity of media carries by juxtaposing the same information being held by two fundamentally different mediums: a text carved into stone and a .jpeg file hosted on Wikipedia. The investigation is not complete until one of them is lost, thus revealing its less durable qualities in the site of the other. Which one will be lost first? Only time will tell…
2022
A 4-GPU computational sculpture. Using energy from a german provider, which burns Russian gas to create electricity. The sculpture completes proof-of-work in real-time for the Ethereum blockchain, thus mining Ethereum currency directly into the official cryptocurrency wallet of Ukraine. Russian gas thus gets directly monetised into humanitarian aid for the Ukrainian people, via the means of the german hesitation to employ an embargo on Russian gas.
ALL WORKS
Index. Exhibitions, Conferences & Events.
2024
The Next Renaissance. Le Goût de l’Invisible | Goethe-Institut Paris | Paris, FRA |
Museum of Fake | One World Festival | Bucharest, ROU |
The Epoch of Transformative Technologies | China Academy of Arts | Hangzhou, CHN |
STRP Scenario x Baltan Laboratories Conference | STRP Festival | Eindhoven. NLD |
2023
Curated By & Charim Gallery | Charim Gallery | Vienna, AUT |
EDITION BOX II -Body of Concept | Geidai Art Plaza | Tokyo, JPN |
Who owns the truth? | Ars Electronica Festival | Linz, AUT |
Cryptomania | Zeppelin Museum | Friedrichshafen, DEU |
Navigating the Digital Realm | DG Connect | Brussels, BEL |
Codes and algorithms.Wisdom in a calculated world | Fundacion Telefonica | Madrid, ESP |
2022
NTAA’22, New Technological Art Award | Zebrastraat | Ghent, BEL |
He Aprendido Que Tienes Que Rezar Por Lo Que No Conoces | Sala Amós Salvador | Logroño, ESP |
NEAR+FUTURES+QUASI+WORLDS | Palazzo Borsa | Bologna, ITA |
Things | ART4 Museum | Moscow, RUS |
Everything will be fine | Tactical Tech | Berlin, DEU |
Writing The History of the Future | ZKM | Karlsruhe, DEU |
2021
You & AI: Through the Algorithmic Lens | Onassis Foundation | Athens, GRC |
Millennials in Contemporary Russian Art | Russian Museum | St.Petersburg, RUS |
Re:Humanism 2 | MAXXI Museo Nazionale Delle Arti | Rome, ITA |
OSMOS, Fluid aesthetics | Electromuseum | Moscow, RUS |
2020
Still Human | Colección Solo | Madrid, ESP |
Measure of Chaos. Science as a way of communication | Tsk19 | Novosibirsk, RUS |
Accrochage | alexanderlevy gallery | Berlin, DEU |
NEAR + FUTURES + QUASI + WORLDS | STATE Studio | Berlin, DEU |
Ars Electronica Garden: Datasets vs Mindsets | Ars Electronica | Moscow, RUS |
2019
Kuryokhin Prize Nominees 2019 | Sergey Kuryokhin Centre | St. Petersburg, RUS |
WRO Biennale | National Museum | Wrocław, POL |
Negative Space | ZKM | Karlsruhe, DEU |
Non-Aligned Networks | Valletta Contemporary | Malta, MLT |
Artificial Intelligence and Intercultural Dialogue | The State Hermitage Museum | St. Petersburg, RUS |
Cosmoscow | Manezh | Moscow, RUS |
Innovation Prize Show | Arsenal | Nizhny Novgorod, RUS |
Kandinsky Prize Exhibition | MOMMA | Moscow, RUS |
5th Ural Industrial Biennial: Main Project | Yekaterinburg, RUS | |
Art Düsseldorf | alexanderlevy gallery | Düsseldorf, DEU |
Short Film Festival | Museum Ludwig | Cologne, DEU |
WRONG Biennale #thescreenisnotthelimit | Online WEB | |
Learning Machines | Electromuseum | Moscow, RUS |
Charon Cycle Screening | Tick Tack | Antwerp, BEL |
Content Aware Studies | alexanderlevy gallery | Berlin, DEU |
Human (un)limited | Ars Electronica Export | Moscow, RUS |
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 |
EXHIBITIONS
News
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 ...
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
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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
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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
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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
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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
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Bio & CV
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.
ABOUT
SELECTED EDUCATIONAL EXPERIENCE
2024 Institute for Postnatural Studies | Madrid, ESP PgD Postnatural Independent Program
2022-2023 Geidai University of the Arts | Tokyo, JPN Research visitor in the Intermedia Arts department under the supervision of prof. Kiyoshi Furokawa
2017 Strelka Institute: The New Normal | Moscow, RUS Programme director Benjamin H. Bratton
2014-2015 Central Saint Martins College | UAL London, GBR Fine Arts, track 4D
2011-2016 Academy of Fine Arts | Vienna, AUT Diploma studies Postgraduate multidisciplinary research programme
2009-2011 The Rodchenko Art School | Moscow, RUS Class prof. Alexei Shulgin | BFA, Media Art
2007-2008 Gerlesborg School of Fine Art | Bohuslän, SWE Foundation year
WORKS IN PUBLIC COLLECTIONS
Ripley’s, Orlando, FL, USA
Cyland Video Archive, USA | RUS
Colección Solo, Madrid, ESP
ZKM, Center for Art & Media, Karlsruhe, DEU
MAMM Multimedia Art Museum Moscow, RUS
Sergey Kuryokhin Center for Modern Art, RUS
SOLO SHOWS
2022 Lies, Half-Truths & Propaganda [The Bad, the Worse, and the Worst] | alexander levy, Berlin, DEU
2019 Human (un)limited | Ars Electronica Export, Moscow, RUS
2019 Content Aware Studies | Alexander Levy, Berlin, DEU
2018 Ákkta | Anna Nova Gallery, St. Petersburg, RUS
2014 Wanderings 2.0 | Rundum, Tallinn, EST
2012 Now is Just Right Now | Taiga Space, St. Petersburg, RUS
2008 State of Mine | Gerlesborgskolan, SWE
ARTISTIC DERECTION
2017–2022 Artistic & design direction at Ethereum Swarm | A software protocol for decentralised peer-to-peer storage architecture
RESIDENCES
2024 Postnatural Independent Program | Institute for Postnatural Studies, Madrid, ESP
2023 ArtEchó | Etopia, Zaragoza, ESP
2023 Escape Fake | Budapest, HUN
2022 Geidai Tokyo University of the Arts | Tokyo, JP
2019 STARTS Residency | University of Southhampton, GBR
2017 Wakefield Art House Nominee; Wakefield, GBR
2017 Quartariata Residency, St. Petersburg, RUS
SELECTED PUBLICATIONS
2023
Neural Magazine #72 “Machine Transparency” | Interview, ITA
VORmagazine | AT
2022
OKV Magazine | Feature article on NTAA by Benedict Vandaele | BEL
Recycling Beauty | Fondazione Prada, ITA
The artist in a science lab | Maya Jaggi | Le Monde Diplomatique, FRA
E-Relevance. The role of Arts and Culture in the Age of Artificial Intelligence | Vuk Ćosić, Vladan Joler, Régine Debatty | Council of Europe, EU
What does art bring to science and technology? EU's "S+T+ARTS (Science, Technology & the ARTS)" | Miki Kanai | Bijutsu Techo Magazine, JP
2021
Nero Magazine | Article AI As experience of the Limit by Daniela Cotimbo | ITA
The Practice of Art & AI, Gerfried Stocker, Markus Jandl, Andreas J. Hirsch | Book
CLARA: Perceiving Matter; article by Dr. Hallie G. Meredith & Sarah Barnett | Washington State University, USA
Art Press | Feature article by Dr. Dominique Moulon | FRA
2020
The Art Newspaper | Top 50 most promising Russian artists | RUS
2019
Calvert Journal | Russia Z Curated by Olesya Turkina | GBR
Strelka Magazine | Do Machines Dream Of The Pergamon Altar? Interview by Yulia Gromova | RUS
Nero Magazine | Article AI As experience of the Limit by Daniela Cotimbo | ITA
2018
TK-21 | Ars Electronica article by Dominique Moulon | FRA
2016
Metal Magazine | Interview by Mercedes Rosés | ESP
Aesthetica Magazine | Exhibition feature article by Jack Castle | GB
SELECTED HONOURS AND AWARDS
2023 Lumen Prize | Award Winner | UK
2023 Austrian Blockchain Award in ‘Best smart technology’ | Vienna, AT
2023 S+T+ARTS Prize Honorary Mention | EU
2022 NTAA: New Technological Art Award | Jury Award Winner, BEL
2021 Re:Humanism, 2nd Edition | Winner, ITA
2020 Top 50 Most Promising Russian Artists by The Art Newspaper
2020 Lumen Prize | Shortlisted, GBR
2020 Born Digital Award nominee, WEB
2020 Listed in 49ART
2019 Kandinsky Prize | Young Artist of the Year nominee, RUS
2019 Garage Museum Art & Technology Grant winner, RUS | DEU
2019 Innovation Prize | New Generation nominee, RUS
2019 STARTS Residencies fellow, EU
2019 Kuryokhin Prize nominee, RUS
2018 Pulsar Prize Finalist | Paris, FRA
2017 New East 100 by Calvert Journal, GBR
2017 Innovation Prize | New Generation nominee, RUS
2015 Nova Art Prize nominee, RUS
2014 Kuryokhin Prize nominee, RUS
2014 Creative Enterprise Award nominee | London, GBR
GRANTS
2023 AETeCHO, Milan, Zaragoza, ITA, ES
2023 Escape Fake 2.0 co-funded by the European Union and the European Media and Information Fund. AUT | HUN
2021 BMKÖS Perspektiven. Innovation. Kunst, AUT
2019 STARTS Residencies, EU | GBR
2019 Garage, Art & Technology Programme, RUS
SELECTED LECTURES AND TALKS
2024
The Epoch of Transformative Technologies | Hangzhou, CN
2023
PublicSpaces Conference 2023: For a Collective Internet | Amsterdam, NDL
Weizenbaum Conference | Berlin, DEU
2022
NECS Lecture Series “Content Aware and Other Case Studies” | European Network for Cinema and Media Studies
Histories of the Avant-garde and Contemporary Disruptive Technologies | NY, USA
2021
Art Machines 2 Conference | City University of Hong Kong, HKG
Politics of the Machine Conference, Rogue Research | Berlin University of the Arts, DEU
AI Artathon 2.0 | Riyadh, SA
2020
Winchester School of Arts | Talking Heads Lecture Series, GBR
Winchester School of Art | Guest seminar on AI and speculative narratives with AMT Research group prof Jussi Parikka & Ryan Bishop, GBR
2019
Content Aware Studies in conversation with Nadim Samman | Alexander Levy, Berlin, DEU
Human (un)limited | Ars Electronica Export, Moscow, RUS
LINK | Stiftung Niedersachsen | Kunstverein Hannover, DEU
2018
MMOMA, Daemons in the Machine | Artist Talk / Moscow, RUS
Impakt Festival | Panel "Black Boxes for Fiction Makers" | Utrecht, NLD
New Media Lab | Artist Talk | St.Petersburg, RUS
ITMO University | Artist Talk | St.Petersburg, RUS
Cyfest 11 | Artist Talk | St.Petersburg, RUS
2017
Smolny College | Series of talks | St. Petersburg, RUS
ICA, Institute of Contemporary Art | Artist Talk | Moscow, RUS
NCCA, National Center for Contemporary Art | Artist Talk | Moscow, RUS
SELECTED SCREENINGS
2022
Everything will be fine | Tactical Tech, Berlin, DEU
2020
Athens Digital Arts Festival | New Aesthetic: Macht & Kontrolle - All Watched Over by Machines of Loving Grace | GRC
2019
Charon Cycle Screening | Tick Tack, Antwerp, BEL
Short Film Festival Cologne | DE
2018
To Touch The Sky | NCCA Kalinigrad, RUS
CYFEST11 Digital Video Art Program | New York | St. Petersburg
2017
Citizen 6 part of Art Athens | Athens, GRC
The New Normal Showcase | Strelka Institute, Moscow, RUS
Enclave Gallery | Ambient Intelligence | London, GBR
2016
Felt Book | Human Resources | Los Angeles, CA, USA
Felipe Castelblanco’s Program | Royal Academy America, NYC, USA
CYFEST Digital Media Program | Bogota, NYC, St.Petersburg, Mexico
2015
CYBERFEST at Salon Leisure and Fantasy | Bogota, St. Petersburg, Berlin, London, Vilnius, Moscow, New York
TEACHING
2023
Institut für Medien & Visuelle Kommunikation | Kunstuniversität Linz, AUT Course: Kunst- oder Bildproduktion in Zusammenhang mit Al
IMSc in Art&Science at ITMO University | St. Petersburg, RUS Ai in Art Theory & Practice Module
SELECTED GROUP SHOWS & FESTIVALS
2024
The Next Renaissance. Le Goût de l’Invisible | Goethe-Institiute, Paris, FRA
One World Festival | Bucharest, ROU
2023
Curated By & Charim Gallery | Vienna, AT
EDITION BOX II -Body of Concept | Geidai Art Plaza. Tokyo, JPN
Ars Electronica Festival | Linz, AUT
Codes & Algorithms | iMAL, Brussels, BEL Cryptomania | Zeppelin Museum, Friedrichshafen, DEU
2022
NTAA’22, New Technological Art Award | Zebrastraat Ghent, BEL
He Aprendido Que Tienes Que Rezar Por Lo Que No Conoces | Sala Amós Salvador, Logroño, ESP
NEAR+FUTURES+QUASI+WORLDS | Palazzo Borsa, Bologna, ITA
Things | ART4 Museum, Moscow, RUS
Everything will be fine | Tactical Tech, Berlin, DEU
Codes and algorithms. Wisdom in a calculated world | Fundacion Telefonica, Madrid, ESP
Navigating the Digital Realm | DG Connect, Brussels, BEL
2021
Millennials in Contemporary Russian Art | Russian Museum, St.Petersburg RUS
Writing The History of the Future | ZKM, Karlsruhe, DEU
Re:Humanism 2 | MAXXI Museo Nazionale Delle Arti, Rome, ITA
You & AI: Through the Algorithmic Lens | Onassis Foundation, Athens, GRC
OSMOS, Fluid aesthetics | Electromuseum, Moscow, RUS
2020
Still Human | Colección Solo, Madrid, ESP
Accrochage | alexanderlevy gallery, Berlin, DEU
NEAR + FUTURES + QUASI + WORLDS | STATE Studio, Berlin, DEU
Ars Electronica Garden: Datasets vs Mindsets | Electromuseum, Moscow, RUS
2019
Kuryokhin Prize Nominees 2019 | St.Petersburg, RUS
WRO Biennale 2019 | Wrocław, POL
Non-Aligned Networks | Valletta Contemporary, Malta, MLT
Artificial Intelligence & The Intercultural Dialogue | Hermitage, St.Petersburg, RUS
Innovation Prize Show | Arsenal, Nizhny Novgorod, RUS
Writing the History of the Future | ZKM, Karlsruhe, DEU
Cosmoscow | Moscow, RUS
5th Ural Industrial Biennial: Main Project | Yekaterinburg, RUS
Kandinsky Prize Exhibition | MOMMA, Moscow, RUS
Art Düsseldorf | Alexander Levy Gallery, Düsseldorf DEU
WRONG Biennale #thescreenisnotthelimit | Online WEB
Learning Machines | Electromuseum, Moscow, RUS
2018
Cyfest 11 | Stieglitz Academy, St.Petersburg, RUS
Vienna Contemporary, Solo Booth | Vienna, AUT
Innovation as Method | Hermitage Museum, St.Petersburg, RUS
Paradoxical Hybrids | Electromuseum, Moscow, RUS
Open Codes | ZKM, Karlsruhe, DEU
Ars Electronica | The Galleries, Linz, AUT
Sciencefest | Saint Petersburg, RUS
Pulsar Art Prize | Paris, FRA
Daemons in the Machine | MMOMA, Moscow, RUS
Impakt Festival | Utrecht, NLD
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
Ambient Intelligence | Enclave, London, GBR
2016
Playroom | Union Studios, London, GBR
Deep Inside, V Moscow International Biennale for Young Art, RUS
Itinéraire Bis | Salon-de-Provence, FRA
Rodchenko Art School 10 Years | MAMM, Moscow RUS
All Eyes On Me | Pechersky Gallery, Moscow, RUS
Corridor I: Onkalo | Insitu, Berlin, DEU
2015
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
2014
Manifesta X: Printed Matter | Museum of Print, St.Petersburg, RUS
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
No Translation | Museum for Applied Arts, Moscow, RUS