Egor Kraft is an interdisciplinary artist and researcher working with ideas, objects, texts, moving image and sound; his interest spans aesthetics of industrialisation©, shock-and-awe ©ampaigns, tactical trickery shuttle between fact and speculation, fully automated ruralisms, speculative narratives≠, thought-Õbjects prototypes, deep timescales, proto-continental geographies, self-declared enclaves® and self~sovereign network systems, ultra-wideband wireless planetary connectivity, exponentially increasing capacities{}, monopolised data echo chambers, geology of media, logistics of information superhighways, their domain ontologies, crude materials for •planetary computation assembly, synthetic cognition and sensation, epistemic focal biases, quantitative machine-rendered regimes, nonhuman agencies, rhythms of low-pitch corrupt data sounds, ultrasonic interventions, big-time proposals, ambient security protocols, recoding and rewiring storage architectures, unfettered bulk data collection powers of wholesale surveillance, bypassing corporate hardware monopolies, unstable climates, seriously old remnants and existential feedback loops

An art and science research project devoted to reconstruction of friezes and sculptures from the period of classical Antiquity, as well as generating never-existed, yet algorithmically genuine objects of those histories involves A.I, artificial neural networks and machine learning technologies	#ai #meta_archeology

New Color

An online intervention and mystification of a scientific breakthrough of a discovery of previously non-existent color. Presented in a form of a website of fictitiousAmerican company, video ads and mocumentary interviews it became a viral sensation attracting mass-attention on the internet.	#ai #intervention

I Print, Therefore I Am

#ai #meta-archeology

A modified digital printer is able to continuously perform printing on a looped-back sheet of paper, running throughout two month, entire duration off the show, is repeatedly reproducing one line of text: 'Print Therefore, I Am'

Essay: aethetics of automation

#ai #essay

Egor G. Kraft is an interdisciplinary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tactical trickery shuttle between fact and speculation, action and script. Egor G. Kraft is an interdiscipli- nary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tactical trickery shuttle between fact and speculation, action and script.
Egor G. Kraft is an interdisciplinary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tactical trickery shuttle between fact and speculation, action and script. Egor G. Kraft is an interdiscipli- nary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tacti cal trickery shuttle between fact and speculation, action and script.

The Link

#ai #meta-archeology

A luminous hyperlink is set up in various locations. The URL address is a full sentence: http://this-is-the.link/between/the/real-and-virtual . Familiar syntax suggests that it's an active weblink. A web page located at the address given in the link, showing a streamed realtime 360-degree panorama camera view of its location.

New Now

#ai #meta-archeology

Set in a way that nearly hurts the viewer’s eyes by emitting the brightest possible cold, white light - the text running across the LED display board repetitively states: “...This very moment, has already become the past – This very mo...”

Air Kiss

Air Kiss looks at artificial intelligence as a ubiquitous material and urban condition. What is an urban habitat when technologies like artificial intelligence, nanoengineering, synthetic sensing, and braincomputer interfaces integrate more and more from the laboratory to the city? This adaptation could perhaps be seen to eventually constitute a condition best described as urban scale chemistry. AI is in fact a human - machine symbiosis, an emergent phenomenon that governs itself.

#ai #intervention

Kickback

#ai #meta-archeology

The intervention was carried out in August 2014 in St. Petersburg, when the artist bought a few plain white T-shirts from the Swedish clothing chain 'H & M'. Without removing any tags from the T-shirts, the artist used professional screen printing techniques to print the T-shirts with texts such as: 'Please Ignore This Text - Keep on Shopping' etc., as if they had been originally designed as such. The next day he went back to the store in order to return and be refunded for his newly modified T-shirt, telling the store’s cashier that it just didn’t fit him. The store’s staff member did not suspect anything, they took back the T-shirt and refunded the artist with his money. The next day the artist returned to the store to find that, his subsequently self-modified T-shirt, was now on sale again complete with its magnetic anti-theft tag which had been reattached. The T-shirt’s new guise had even prompted the store to display it in an even more prominent space on the clothes rack.

Fair Data

#ai #meta-archeology

Unfolded

#ai #meta-archeology

As the viewer approaches the video installation consisting of a computer standing on a typical office desk, the screen turns on and starts playing the video: viewer sees computer’s desktop, with the folder called ‘the sense of existence', the cursor moves to the folder and opens it up, a new window opens with another few folders of sub-categories... video continues ...’
A question of vital importance to humanity is lost in ordered labyrinths of virtual spaces. Each new mouse click only takes us further away from solving an issue, similarly to how progressing mass media distracts us from grasping reality. Such action turns into situationist spectacle, in which the choice of particular media as a means of understanding substitutes any effort to grasp reality and a meaning of existence within it.

Twelve Nodes

Twelve Nodes concerns itself with current issues surrounding the ethical treatment of personal data, speaking to the urgent need of more regulation, considering the large-scale misuses that have occurred over the past years. The work introduces the concept of Fair Data, a framework and guideline for organisations for the control of personal data. Fair Data establishes standards for consent, collection, and ownership of personal data as well as recognising a fair economic value and usage of data.

#ai #intervention

Essay: Twelve Pillars of Fair Data

#essay #ai

Egor G. Kraft is an interdisciplinary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tactical trickery shuttle between fact and speculation, action and script. Egor G. Kraft is an interdiscipli- nary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tacti cal trickery shuttle between fact and speculation, action and script.
Egor G. Kraft is an interdisciplinary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tactical trickery shuttle between fact and speculation, action and script. Egor G. Kraft is an interdiscipli- nary artist, researcher and film-maker whose interest spans: doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns, tacti cal trickery shuttle between fact and speculation, action and script.

URL Stone

#ai #meta-archeology

The work URL Stone aims to study the various properties and longevity of media carriers that we assign the function of storing, transmitting and preserving knowledge, data and information. The investigation will juxtapose the same information being held by two fundamentally different mediums. Those include: a text carved into stone in an archaic way, in accordance to how knowledge used to be preserved by ancient civilisations and an encyclopedic article posted on Wikipedia, perhaps now the most progressive method of documenting and gaining knowledge.

Tactical Hardware

#ai #meta-archeology

Hollow Domain

#ai #meta-archeology

End of Now

#ai #meta-archeology

WORK ARCHIVE

2020

Still Human at Colección Solo Madrid, ES
Chaos Measure at Tsk19 Novosibirsk, RU
Accrochage at alexanderlevy gallery Berlin, DE
NEAR + FUTURES + QUASI + WORLDS at STATE Studio Berlin, DE

2019

Kuryokhin Prize Nominees 2019 at Sergey Kuryokhin Centre St. Petersburg, RU
WRO Biennale 2019 at National Museum Wrocław, PL
Non-Aligned Networks at Valletta Contemporary Malta, MT
Artificial Intelligence and Intercultural Dialogue at Hermitage Museum St State Innovation Prize Show at Arsenal Nizhny Novgorod, RU
Writing the History of the Future at ZKM Karlsruhe, DE
Cosmoscow at Manezh Moscow, RU
5th Ural Industrial Biennial: Main Project Yekaterinburg, RU Kandinsky Prize Exhibition at MOMMA Moscow, RU
Art Düsseldorf with alexanderlevy gallery Düsseldorf DE
WRONG Biennale #thescreenisnotthelimit Online WEB
Learning Machines at Electromuseum Moscow, RU

↓ Previous Exhibitions…

NEWS

05 Aug 2020

24 Jul 2020

I’m honoured to share that Content Aware Studies have been long-listed for the international Lumen Art Prize along with a lot of seriously big work by most favourite colleagues of mine, incl. Casey Reas, Guy Ben-Ary and many others (see link below)

Posted via Instagram [at Lumen_Prize]

24 Jul 2020

Posted via Instagram [at Lumen_Prize]

This week I’m looking forward to joining the ins

A seriously old portrait from before the iron curt

This and a bunch of identical files just appeared

Chinese Ink, 2019 Electronic ink screens, neural n

This has been advertised across the displays in Vi

The @lumen_prize for Art and Technology ceremony w

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Egor Kraft

b. 1986 Saint-Petersburg, Russia Lives and works in Moscow and Berlin
Instagram / Twitter / Vimeo

studio[at]egorkraft.com

EDUCATION

2008 Gerlesborg School of Fine Art / SWE
2011 The Rodchenko Art School / prof. A. Shulgin, Moscow, RUS
2014 Academy of Fine Arts / prof. C. Ruhm, Vienna, AUT
2015 Central Saint Martins College / London, GBR 2017 Strelka Institute, The New Normal / prof. B. Bratton, Moscow, RUS

Cosmoscow / Moscow, RU
5th Ural Industrial Biennial: Main Project / Yekater- inburg, RU

2018
Ars Electronica / Post City, Linz, AUT
Open Codes / ZKM, Karlsruhe, DE
The New State of The Living / PERMM, RU
Akkta / Solo Show / Anna Nova, St. Petersburg, RUS
Vienna Contemorary / Solo booth / Vienna, AUT Impakt Festival / Utrecht, NLD

BIO

Egor Kraft works at the intersection of arts, media, technology, film, critical design and research.
Egor acquired his education from Gerlesborg School of Fine Art (SE), Moscow Rodchenko Art School (RU), Academy of Fine Arts Vienna (AT), Central Saint Martin’s College (UK) and ‘The New Normal’ at Strelka Institute (RU).

He participated in Ars Electronica (AT), ‘Open Codes’ at ZKM (DE), 5th Ural Industrial Biennial, 5th and 2nd Moscow International Biennials for Young Art, WRO Biennial (PL), IMPAKT Festival (NL), Vienna Contemporary (AT), Manifesta X (RU), WRONG Biennale (WEB), 1st Kyiv Biennale and a number of shows including Hermitage, ZKM, Garage, MOMMA, MAMM, PERMM, Polytechnic Museum (Moscow), Tretyakov Gallery, Short Film Festival Cologne and many other international events.

Egor was nominated for various prizes including the State Innovation Art Prize twice (RU), Kuryokhin Prize twice (RU), Kandinsky Prize (RU), Creative En- terprise Award (UK) and the Pulsar Prize (FR).

STATEMENT

Egors work concerns itself with epistemic systems of humans and nonhuman agencies, speculative models and domain ontologies of information tech- nologies often expressed in a form of thought–ob- ject experiment practices. It involves artificial infor- mation systems, computational technologies, films, interventions often in conjunction with traditional medias. As part of his research based practice he tends to develop speculative narratives questioning co-existence of human irrational reasoning and a ubiquitous impartial and quantitative orders ren- dered by machinic agency and technologies of today and tomorrow.

Structures of exponentially increasing capacities, synthetic intelligence, data monopolies as power structures, ubiquitous mechanic analysis and inter- pretation, planetary scale computation, techno-pol- itics vs geopolitics, speculative crypto-economies, DNA design and genetic machine developments – all these and many other cognitive perspectives re- constitute the aspect of what we define as human in a new geological epoch.

In how far is the human aspect subject to technolo- gy? To what degree and from what viewpoint is the human aspect autonomous, unpredictable, faulty, ir- rational? How shall this human aspect coexist along with the precise ubiquitous machinic automated or- ganisation? Having once seen the surface under a microscope, we will never again see it as we knew it before. How may we redefine the 'human' after seeing the world through the lens of other synthetic forms of perception and cognition? Investigating these political, ethical, philosophical and aesthetic questions constitutes new challenges for artistic production, as primordially a ‘human’ project, yet perhaps not necessarily a human-centric one.

HONOURS AND AWARDS

2014
Creative Enterprise Award nominee / London, UK Kuryokhin Prize nominee, RUS
2015
Nova Art Prize nominee, RUS
2017
Innovation Prize / New Generation nominee, RUS 2017
Included in the New East 100 / Calvert Journal, UK 2018
Pulsar Prize Finalist / Paris, FRA
2019
Kuryokhin Prize nominee, RUS
STARTS Residencies fellow, EU
Innovation State Prize / Artist of the Year nominee, RUS Garage Museum Art & Technology Grant winner, RUS / DE Kandinsky Prize / Young Artist of the Year, RU

SELECTED TALKS

Winchester School of Art / Guest seminar, prof Jussi Parikka, UK
Impakt Festival 2018 / Utrecht, NLD
Smolny College / Liberal Arts & Sciences / St. Pe- tersburg, RUS

Content Aware Studies in conversation with Nadim Samman / Alexander Levy, Berlin, DEU
Human (un)limited / Ars Electronica Export, Moscow, RUS

ITMO University / St. Petersburg, RUS
National Center for Contemporary Art, Moscow HSE, RUS
MMOMA, Daemons in the machine / Moscow, RUS ICA Moscow / Moscow, RUS
Geek Picnic / Moscow, RUS
Cyfest 11 / St. Petersburg, RUS

SOLO SHOWS

2008 State of Mine / Gerlesborgskolan, SE
2012 Now is Just Right Now / Taiga Space, St. Pe- tersburg, RU
2014 Wanderings 2.0 / Rundum, Tallinn, EE
2018 Ákkta / Anna Nova Gallery, St. Petersburg, RU 2019 Content Aware Studies / Alexander Levy, Berlin, DE
t2019 Human (un)limited / Ars Electronica Export, Moscow, RUS

SELECTED GROUP SHOWS & FESTIVALS

2020
Still Human / Colección Solo, Madrid, ESP Accrochage / alexanderlevy gallery, Berlin, DE NEAR + FUTURES + QUASI + WORLDS / STATE Studio, Berlin, DE

2019
Art Dusseldorf with alexander levy / Dusseldorf, DE Kandinsky Prize Exhibition / MOMMA, Moscow, RU WRONG Biennale / WEB
Kuryokhin Prize Nominees 2019 / St. Petersburg, RU WRO Biennale 2019 / Wrocław, PL
Non-Aligned Networks / Valletta Contemporary, Malta, MT
AI & Intercultural Dialogue / Hermitage, St. Peters- burg, RU
State Innovation Prize Show / Arsenal, Nizhny Novgorod, RU
Writing the History of the Future / ZKM, Karlsruhe, DE

Innovation as Method / Hermitage, St. Petersburg, RUS
Pulsar Art Prize / Paris, FRA
Daemons in the Machine / MOMMA, Moscow, RUS Cyfest 11 / Stiglitz Academy, St. Petersburg, RUS Paradoxical Hybrids / Electromuseum, Moscow / Vladivostok / RUS
Obsolete Progress / Polytechnic Museum, Moscow, RUS

2017
Citizen 6, Video Programme, Art Athens / Athens GRC
Innovation State Art Prize Show / MUAR, Moscow RUS
The New Normal Showcase / Strelka Institute, Moscow RUS
Parallel Vienna / Format.STRK Project statement / Vienna, AUT
Ambient Intelligence / screening at Enclave Gallery / London, UK
Prototype #4 / Kuryokhin Center, St. Petersburg RUS

2016
Playroom / Union Studios, London, UK
Deep Inside, V Moscow International Biennale for Young Art
Rodchenko Art School 10 Years / MAMM / Moscow RUS
Itinéraire Bis / Salon-de-Provence FRA
All Eyes On Me / Pechersky Gallery / Moscow RUS Then We Would Not Know It / Moscow RUS
How We Became Each Other / Moscow RUS
Art Prospect / Public Art Festival / St.-Petersburg RUS
Corridor I: Onkalo / Insitu, Berlin, Germany GER

2015
What to say when there’s nothing to / Udarnik, Moscow RUS
Reflecting on the Boundaries / Kuryokhin Center, St. Petersburg RUS
On the trail of "Pop Mechanics” / Kuryokhin Center, St. Petersburg RUS

2014
Printed Matter / Manifesta 10 Programme / St. Pe- tersburg, RUS

2013
Art En Face / Manezh, St. Petersburg, RUS
No Translation / Museum for Applied Arts, Moscow, RUS
Pop Up / Tretyakov Gallery Krymsky Val, Moscow, RUS

2012
Apocalypse & Rebirth / Chocolate House, Kiev UKR Originalcopy / Fluc am Praterstern, Vienna, AUT 5th International Art Moves Festival / Toruń, POL

2011
Infiltration Series 6 / Paradiso, Amsterdam, NLD The Ribbons / The Galleries, Sydney, AUS INDI_VISUAL / Multimedia Art Museum, Moscow, RUS
No Limitation / Presidential library, St Petersburg, RUS
Insight & Foresight / Garage Museum, Moscow, RUS

2010
II Young Art Biennale “Qui vive?” / Moscow, RUS

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Site build 24 September 2020 at 5:51am

Essay: aethetics of automation

Essay: Twelve Pillars of Fair Data

2020

Still Human at Colección Solo Madrid, ESChaos Measure at Tsk19 Novosibirsk, RUAccrochage at alexanderlevy gallery Berlin, DENEAR + FUTURES + QUASI + WORLDS at STATE Studio Berlin, DE

2019

↓ Previous Exhibitions…

Still Human at Colección Solo Madrid, ES
Chaos Measure at Tsk19 Novosibirsk, RU
Accrochage at alexanderlevy gallery Berlin, DE
NEAR + FUTURES + QUASI + WORLDS at STATE Studio Berlin, DE