Last updated: January 16, 2026
Born 1986 in St.Petersburg; lived a highly mobile life throughout his youth in Western Sweden, Moscow, Vienna, Berlin, and London; since 2022 divides his time between two studios in Tokyo and Vienna and frequently travels with exhibitions and projects.
Web: kraft.studio Links & Info: kraft.bio Email: [email protected]
Egor G. Kraft is an artist, thinker, filmmaker and critical designer whose work acknowledges the disrupted modern condition as a consequence of radical techno-cultural planetary reconfiguration. He lives a mobile life, splitting his time between western Europe and eastern Asia, with homes in Tokyo and Vienna, as well as deep ties to London and Berlin.
Kraft acquired his education from Gerlesborgsskolan School of Fine Art (Gerlesborg, SE), Rodchenko Art School (Moscow, RU), Academy of Fine Arts (Vienna, AT), Central Saint Martin’s College (London, UK) and ‘The New Normal’ at Strelka Institute (Moscow, RU). He was a research fellow at the University of Southampton (Southampton, UK) and Geidai University (Tokyo, JP). Kraft's multi-award winning work has exhibited worldwide, including festivals Ars Electronica (Linz, AT), Siggraph Asia (Tokyo, JP), Impakt Festival, (Utrecht, NL), WRO Biennial (Wroclaw, PL), and such institutions as ZKM (Karlsruhe, DE), MAXXI (Rome, IT), Jeu De Paume (Paris, FR), Onassis Foundation (Athens, GR), Hermitage Museum (St. Petersburg, RU), Espacio Fundación Telefónica (Madrid, ES), iMAL (Brussels, BE) and many other museums and galleries. Kraft is the recipient of the 2023 Lumen Prize (UK), the 2022 New Technological Art Award (BE), the 2023 S+T+ARTS Prize honourable mention (EU), the 2022 Austrian Blockchain Award (AT), and numerous other awards and nominations. He is a lecturer at European and Asian universities, author of publications and speaker at international conferences, including Art Machines 2 (Hong Kong, CN), Politics Of The Machines (Berlin, DE), Ethics & Aesthetics of Artificial Images (Venice, IT) and other conferences.
Kraft’s research-driven practice involves thought-objects, AI models, data-monuments, films, essays, hardware contraptions, web-based executions, virtu-real embodiments, investigative inquiries, hacktivist interventions, speculative proposals, hyper-poetry, and other forms. It is grounded in recognising that modernity is shaped by such industrial conditions as accelerating ubiquitous computing, emerging synthetic cognitive infrastructures, surging data-mineral-energy extractive regimes, recursive predictions and simulations in algorithmic organisations of markets and infoscapes, ever-increasing logistical capacities for matter, information, and scaling material and virtual infrastructure, the emergence of proliferating non-human agencies, as radically different inhabitants, advancements in bio-genetic engineering; followed by crises of governance, unceasing techno-geopolitical frictions, and failing socioeconomics. This turbulence suggests a transition towards a new industrial, or even geological epoch. Some see these developments as fundamentally anti-life; others recognise them as natural and inevitable intensification of what life does in the image of its own unrolling dynamism. These shifts raise questions about what we define as the human and its role in this unfolding context? What is autonomy and how does the context facilitate coexistence? And whether human-centric value models limit imaginaries and trajectories that exist beyond the human. And which of those trajectories we want and need, if any. And how can research and practice, largely embedded in cultural domains, study and address these questions; how can it exercise working with them; how can it help to articulate emerging yet undefined notions that not only demand new vocabulary, but whole new sociotechnical imaginaries.
EDUCATION 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 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 in Arts & Media
2009-2011 The Rodchenko Art School | Moscow, RUS Class prof. Alexei Shulgin | BFA, Media Art
2007-2008 The Gerlesborg School of Fine Art | Bohuslän, SWE Foundation year
1998-2004 Art School №1 | St. Petersburg, RUS Prelimiary Artistic Studies
HONOURS & AWARDS
2024 Falling Walls Science Summit 2024 | Winner for the Art & Science Category | Berlin,DEU
2023 Lumen Prize | Award Winner | GBR
2023 Austrian Blockchain Award in ‘Best smart technology’ | Vienna, AUT
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 S+T+ARTS 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