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Participating in “Navigating the Digital Realm” Exhibition at the European Commission’s DG Connect, Brussels

Honoured to be taking part in the exhibition Navigating the Digital Realm at the European Commission, DG Connect building in Brussels opening December 1st. This exhibition is made possible thanks to the support from S+T+ARTS (Science, Technology & the Arts), an initiative of the European Commission, launched under the Horizon 2020 research and innovation programme. Its purpose is to support collaborations between artists, scientists, engineers, and researchers to develop more creative, inclusive, and sustainable technologies. In collaboration with LUCA School of the Arts, GLUON, Snowball, iMAL, Ars Electronica, and BOZAR. Curated by Nicolas Wierinck.

Speculating AI-Governance: Air Kiss (2017)

A short and cropped excerpt from Air Kiss (2017) — a film (HD, 19’38”) accompanied by a website and book. The project was produced during our participation in The New Normal, a research programme at the Strelka Institute for Media, Architecture and Design, directed by Benjamin Bratton. The film was a collaborative effort between Alina Kvirkveliya, Pavel Semyonovich, Pekka Airaxin, Karina Golubenko, and myself. Air Kiss explores a speculative near-future in which governance has been largely outsourced to artificial intelligence. The backdrop of the narrative outlines a strategy for decentralised AI-governance systems. It raises questions about the sociopolitical, cultural, and spatial implications of a world where computation has become the environmental condition itself. When algorithms predict, decide, and even mediate inner dialogues, what remains of personal agency? The envisioned system is a real-time, universally fair democracy that operates by continuously polling users through behaviour and active input, shaping cities and landscapes algorithmically.

Air Kiss Screened at Deptford Moving Image Festival, London (2019)

Just stumbled upon this image of our film Air Kiss screened at the Deptford Moving Image Festival in London in 2019. Phew, those were the times. The film was produced during our time as part of “The New Normal,” a think tank at Strelka Institute, directed by Benjamin Bratton. Air Kiss was a collaborative effort between Alina Kvirkveliya, Pxkkx, Karina Golubenko, and myself. Created in 2017, the film is an HD 19-minute and 38-second piece accompanied by a website and book. Air Kiss explores a near future where governance is largely outsourced to artificial intelligence. The film presents a speculative strategy unfolding the mechanisms of a decentralized AI-governance system. The social, political, cultural, and spatial repercussions of these projected developments are vast. What does it mean to live in a world where computation is the surrounding matter itself? When algorithms predict, suggest, decide, analyze, and manage everything from basic income to infrastructure and even one’s inner dialogue, what are the limits of personal responsibility or personality? The film envisions a system striving to be a universally fair real-time democracy. Users continuously poll their preferences about their living environments, influencing the algorithmic system both by deliberate virtual requests and behavior tracking. This shapes the design and management of cities and geographies beyond them.

Codes and Algorithms: Wisdom in a Calculated World’ Exhibition Opens at Fundación Telefónica, Madrid

I am happy to share that the exhibition Codes and Algorithms: Wisdom in a Calculated World, curated by Manuela Naveau, opens tonight at Fundación Telefónica in Madrid, Spain. The show runs from October to April 2023. The exhibition features works by colleagues including Kyriaki Goni, Karin Sander, Mushon Zer-Aviv, Kairus Art+Research, Trevor Paglen, Shinseungback Kimyonghun, Manu Luksch, Danja Vasiliev, GYOC, Iosune Sarasate, Clara Boj, Diego Diaz, Pitscher, Giacomo Piazzi, and myself. I find it exceptional that this endeavor is organised by an institution historically responsible for laying the first telecommunication and internet cables across the Atlantic, connecting Europe to the Americas.

Final Week to Experience ‘Everything Will Be Fine’ Exhibition by Tactical Tech in Berlin

The brilliant exhibition Everything Will Be Fine by Tactical Tech is open for one more week only. Co-produced with Humboldt University Berlin and exhibited in front of the Deutsches Technikmuseum in Berlin, this show features a collection of outstanding works by some of my favourite colleagues—and myself. I’m proud to present my piece The New Color, an ongoing online intervention started in 2011. This 5-channel video installation, film, website (thenewcolor.net), and book project was co-produced with Nikita Tsarev. The New Color is an online intervention and mystification of a scientific breakthrough discovery of a previously “non-existent” color. Presented as a website of a fictitious American company, the project features viral video ads and mockumentary interviews that attracted massive online attention. The website uses non-facts framed as news to explore the media’s intrinsic power to shape public perception and create new forms of knowledge production. It critically investigates the manipulative tools of media, its potential for disinformation, and how constructed fictions gain legitimacy. Don’t miss this last chance to see this and many other compelling works at Everything Will Be Fine.

‘Everything Will Be Fine’ Outdoor Exhibition Opens in Berlin During Berlin Art Week

A wonderful outdoor exhibition, Everything Will Be Fine, curated by the brilliant Tactical Tech, opened last week in front of Berlin’s Deutsches Technikmuseum as part of Berlin Art Week. The exhibition is accompanied by a screening programme hosted by Haus der Statistik (HAU). Among many powerful and timely works, the show features pieces by some of my favourite colleagues across the space, including Disnovation.org, Nicolas Maigret, Vladan Joler, Agnieszka Kurant, Liam Young, Coralie Vogelaar, and myself. If you’re in Berlin, don’t miss the chance to visit — the exhibition runs until October 4th.

NEAR + FUTURES + QUASI + WORLDS Exhibition Travels to Madrid

The Lisbon edition of the show NEAR + FUTURES + QUASI + WORLDS recently concluded. After traveling for some time, the exhibition will be displayed again in Madrid this coming October. NEAR + FUTURES + QUASI + WORLDS showcased a selection of artworks from twelve artists in Berlin, Lisbon, and Bologna, surveying seven years of S+T+ARTS, an initiative of the European Commission fostering collaborations between art, science, and technology since 2015. Massive thanks to the European Commission’s S+T+ARTS program, curators Manuel Cirauqui and Silvana Fiorese, State Studio, and all colleagues who participated in the show, including Evelina Domnich and Dmitry Gelfand, Félicie d’Estienne d’Orves, Forensic Architecture, Iris van Herpen, Julia Koerner, So Kanno and Takayuki Yamaguchi, Kasia Molga & Robin Rimbaud (aka Scanner), and Etsuko Yakushimaru.

EVERYTHING WILL BE FINE: Outdoor Exhibition by Tactical Tech Opens in Berlin

Save the date: EVERYTHING WILL BE FINE, an outdoor exhibition by Tactical Tech, opens on 14 September at 7:00 PM outside the German Museum of Technology in Berlin. Co-produced by HAU Hebbel am Ufer, this large-scale public show investigates how technology influences the way people are informed, how they make decisions, and how they respond to contemporary global crises—from climate change and pandemics to political polarisation. Dear Berliners, you’ve been missed — hope to see you this Wednesday evening at Tempelhofer Ufer / corner Trebbiner Straße for the opening. The exhibition features an outstanding lineup of over 50 artists, researchers, and technologists, including: Paolo Cirio, Marjolijn Dijkman, Disnovation.org, Olalekan B. Jeyifous, Vladan Joler, Egor Kraft, Agnieszka Kurant, Sybille Neumeyer, Liam Young …and many more. I’m glad to be presenting the good old The New Color — an ongoing work exploring media manipulation and speculative science.

Decentralised Embargo (2022): A Blockchain-Based Artistic Intervention into Energy Geopolitics

Decentralised Embargo (2022) is a provocative installation involving an electricity contract with EnBW (a known client of Gazprom Germania), a rack-mounted open-frame server with four Nvidia 3090 GPUs, a custom water-cooling loop, and Ethereum blockchain mining software. Presented initially at alexanderlevy gallery in Berlin, the artist requested the gallery to sign a supply contract with EnBW, one of Central Europe’s major energy providers. EnBW sources part of its electricity from Gazprom Germania—a subsidiary of the Russian state-owned gas giant Gazprom, notorious for its geopolitical entanglements and its role in fueling the war in Ukraine. The server hardware, continuously mining Ethereum during the exhibition, consumed electricity derived, at least partially, from Russian fossil fuels. These fuels, through a chain of thermodynamic conversions, eventually powered the GPU-intensive mining rig. All mined Ethereum tokens were directly transferred to the official wallet address accepting cryptocurrency donations for the Ukrainian government. Through this process, the work enacts a form of infrastructural détournement: converting Russian-sourced energy into digital capital in support of the country its origin nation is actively warring against. Decentralised Embargo highlights the paradoxes of European energy dependence and raises sharp questions around political accountability, technological agency, and the circulatory logic of power – both energetic and economic.

Reflection on what once was home

It’s been beyond heartbreaking to watch political fabric unraveling across the eastern ends of European geographies, the so-called post-Soviet states, including places I used to consider home. What once was home has been blatantly stolen along with vast masses of land, freedoms and futures of many. Exhausted by the pandemic, we watched this escalating horror show of power, idiocracy, brutality, grief, paranoia, revelation of long-standing insidious plans, dishonour, incompetence, condolence & despair. These events shocked, devastated, humbled, silenced and turned into apathy many, including myself. I often find my mind pierced by the very idea that this war is still on, and the horrific memories of seeing what had been revealed — glimpses, shreds of evidence and testimonies. Instinctively attempting to keep my sanity, my mind was going down the rabbit holes of thinking, making things and writing texts. This helped, it kept me occupied around the clock over these past couple of years. I felt muted by this horror show and couldn’t force myself to reveal anything of what kept me busy. In the light of ongoing events, all seemed futile. In fact, I barely could make myself see anyone but family for months. A few sporadic conversations within my circles made me realise that many others felt the same way too. I then started noticing how networks and communities began dismantling, how borders became pronounced again, and how geographies became more limiting than used to be. Communities built through passions and curiosities I always considered to be incredibly precious entanglements of value. And I can’t stress enough how important I believe it is to preserve these networks — and to do so in contempt of someone’s efforts to burn the bridges that we built. And after all, it’s good that we still have the holy World Wide Web,…