#kraftblog

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This book has a special place in my library. It was published with the support of European ARTificial Intelligence Lab, in partnership with Ars Electronica and brings together 13 cultural and six scientific institutions from across Europe. I am happy my series of works Content Aware Studies is mentioned there as one of the early examples of Ai driven research-based artistic practices.

Special thanks @onassis.stegi

@irini_mirena @arselectronica & bmkös

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CAS_15.1 Deep Frieze. 2021 Breccia marble, concrete, machine learning algorithms, unique synthetic dataset; dimensions: ~108x90cm. Produced with support from: Onassis Foundation & Garage Museum. @onassis.stegi @garagemca The Content Aware Studies (started in 2017) is a series of artistic investigations that spans computational, sculptural, screen-based and textual works that together critically examine what artistic, technical and philosophical capacities Ai technologies hold, both as means for automatic historical investigation & synthetic knowledge production. Artificial neural network is directed to replenish lost fragments of classical sculptures. Analysing thousands of 3d scans, it generates models, which are then 3D printed, marble fabricated and used to fill the voids of the original sculptures. #contentawarestudies #cas #kraftblog #kraftworks (at Zebrastraat) https://www.instagram.com/p/CpngcmRPZ2A/?igshid=NGJjMDIxMWI=

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It was an adventure, perhaps, a good one, to be on the jury for the first Asta Award for art, science & technology in Art & Ai category. To me personally, or rather politically, it was indeed not an easy decision to engage in a cultural initiative in my infamous motherland for the first time since the full-scale invasion (let's admit this war is actually on for many years now). However, the community, which includes some of the most brilliant local (or previously-local) people that took part in the jury is a group of some extraordinary people within the art & science cultural project out there, who I genuinely want to stay connected to despite complete inability and geographical spread as a result of forced mobility, although perhaps this harm is incomparable to that of many others as a result of it all. I believe, in the times like this, we also need to try and preserve, something very valuable, – the community. A shout-out to @amicat & @dashaazbil whose work was my nomination of choice. #kraftblog https://www.instagram.com/p/CpF21w1PZR7/?igshid=NGJjMDIxMWI=

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Some views of the show "Navigating the Digital Realm" in the EU commissions DG connect building in Brussels. The exhibition is curated by the great team at GLUON @gluon_bxl @nicolas_wierinck in collaboration with LUCA School of the Arts @luca.schoolofarts, Snowball, Ars Electronica @arselectronica and Bozar, Centre for Fine Arts Brussels @bozarbrussels Photos (c) Fabien Sylvestre. #kraftblog #cas #contentawarestudies https://www.instagram.com/p/CoDLxh9PFqt/?igshid=NGJjMDIxMWI=

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I was somewhat quiet about it. To be fully honest I find it challenging to speak and publish much these days as the pain of the bleeding world is taking its toll. I'm sure so it does to many. But for the sake of exercising of getting out those tiny bits of life that happen to be on the brighter side — mine was definitely in Japan for the past few months. I was incredibly lucky to have been taking part in an academic visit at the @tokyo_geidai Geidai University of the Arts in Tokyo, a city I have an escapist romance with lately. And a place, where I'm currently working on some new stuff largely inspired by the unique locality. #kraftblog #tokyo #geidai https://www.instagram.com/p/CnxB1sBSFtj/?igshid=NGJjMDIxMWI=

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@fondazioneprada recently published a brilliant catalogue dedicated to the exhibition “Recycling Beauty” - an unprecedented study about the reuse of Greek and Roman antiquities in post-antique contexts. The catalogue features my work "CAS_05 Julia Mamea" in the essay "Digital Artifacts: Processing Antiquities in Contemporary Art" written by Patrick R. Crowley @marbleindex. The exhibition is curated by Salvatore Settis and Anna Anguissola with Denise La Monica and designed by Rem Koolhaas/OMA and @2x4inc. Photos (c) OMA, Fondazione Prada and Patrick R. Crowley #kraftblog #publication #contentawarestudies (at Fondazione Prada) https://www.instagram.com/p/CmdUWPoPM_Y/?igshid=NGJjMDIxMWI=

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This is the Mount Fuji as seen from my aircraft on one of the recent flights to Europe. I'm now back again to Tokyo. Perhaps the busiest and definitely the most populated town in the world. Yet everyone is findings their undisturbed comfort in the quiet corner of their own body and a little space anyone has a privilege to occupy. I will likely be far from the good old Europe for at least a few months as I'm engaged in an academic visit at the Geidai University of the Arts. Hit me up if you're visiting the island of fully automated post-nuclear spiritualism. I learn a lot from being here. ( ͡° ͜ʖ ͡°) #travellog #kraftblog #tokyo (at Tokyo, Japan) https://www.instagram.com/p/CmLj_55Pa_s/?igshid=NGJjMDIxMWI=

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Just stumbled upon this image of our film Air Kiss screened at Deptford Moving Image festival @demomovingimage @deptfordx in London in 2019. Phew these were the times. The film was produced during our time as part of “The New Normal” @strelka_thenewnormal a think tank at Strelka Institute @strelka_institute, directed by Benjamin Bratton. The film was a collaborative effort between @alinakvirkveliya, @pxkkx and @karina.golubenko and myself Air Kiss; 2017 Film, HD, 19’38”; website, book. #kraftblog #airkiss (at London, United Kingdom) https://www.instagram.com/p/CkBuAXfLK1G/?igshid=NGJjMDIxMWI=