What can only be described as a visual exploration of topography using a computer interface, Wanderings 2.0 is the latest in the exquisite portfolios of work by the London-based interdisciplinary artist Egor Kraft and Saint Petersburg's Alexander Lezius.
Represented via an HD projection Wanderings 2.0 are supposed to demonstrate the enchanting beauty of the simulation’s textures and the hypnotic effect of discovering previously unknown locations, as if reawakening features that classical paintings of romantic landscapes used to possess before the invention of photography, the lost features that used to reconnect the viewer with a notion of wild nature...
However, in this case, we are dealing with an inanimate rather primitive, polygonal three-dimensional model, which is perhaps the most popular emulator of reality and a monument to virtual reality itself. This mapped world, the origin of which was an attempt to create a virtual copy of the physical world, has a cold artificial atmosphere, where the walk turns into an alienated virtual act, but that still has a sense of romanticism, where you lose yourself wandering.
Exhibition trailer, 2015
'This Very Moment' installation
'This Very Moment' installation fragment
'I Print, Therefore I Am' installation
'Kickback' installation fragment
'Unfolding' installation
'Wandering 2.0' video installation
Exhibition view
Exhibition trailer, 2015
'This Very Moment' installation
'This Very Moment' installation fragment
'I Print, Therefore I Am' installation
'Kickback' installation fragment
'Unfolding' installation
'Wandering 2.0' video installation
Exhibition view
What can only be described as a visual exploration of topography using a computer interface, Wanderings 2.0 is the latest in the exquisite portfolios of work by the London-based interdisciplinary artist Egor Kraft and Saint Petersburg's Alexander Lezius.
Represented via an HD projection Wanderings 2.0 are supposed to demonstrate the enchanting beauty of the simulation’s textures and the hypnotic effect of discovering previously unknown locations, as if reawakening features that classical paintings of romantic landscapes used to possess before the invention of photography, the lost features that used to reconnect the viewer with a notion of wild nature...
However, in this case, we are dealing with an inanimate rather primitive, polygonal three-dimensional model, which is perhaps the most popular emulator of reality and a monument to virtual reality itself. This mapped world, the origin of which was an attempt to create a virtual copy of the physical world, has a cold artificial atmosphere, where the walk turns into an alienated virtual act, but that still has a sense of romanticism, where you lose yourself wandering.
Tokyo, Mishuku, JPN
Vienna, Neubau, AUT
Egor Kraft – artist-researcher, founder
Anna Kraft – researcher, director
mail/at/kraft.studio
Tokyo, Mishuku, JPN
Vienna, Neubau, AUT
Egor Kraft – artist-researcher, founder
Anna Kraft – researcher, director
#ReverseArchaeology #SyntheticHistories #Cognitecture #AIsthetics #Engistemics
Initiated in 2017, ongoing.
Marble, polyamide, machine learning algorithms, custom software, original dataset, multichannel video installation.
A critical and technical exploration of the capacities of AI models to reconstruct missing fragments of objects from classical antiquity and generate synthetic historical documents carved in stone. This work questions the epistemological qualities of AI-accelerated historiography, akin to 'reverse archaeology'.
#Infodemics #Infollution #Knowlegistics #EngineeredTruth
Initiated in 2011, ongoing.
5-channel video installation; HD film; website: thenewcolor.net; book, edition of 50.
An online mystification concerning a parascientific breakthrough discovery of a never-before-seen colour. The digital myth took the form of a fictitious company's website, video adverts & mockumentary interviews to become a viral sensation attracting mass attention online.