ABOUT
BIOGRAPHY
CRIS WAR (b. 1996) is an Italian artist and composer whose practice explores the translation of lived experience into data.
Working across sound, moving image, and computational systems, he develops audiovisual works that investigate how perception and identity are transformed through computational processes.
SELECTED GROUP EXHIBITIONS, SCREENINGS AND PUBLIC ART
- OTHER WORLDSAtelier, New York, New York
- Le FIFA 44Montréal, Canada
- TezCon 2025Seattle, WA, USA, powered by Tezos
- Screen TestRoman Susan Art Foundation, Chicago, IL, USA
- WW ChannelWhite Walls, Art on Tezos × Unknown Collector
- ART MARKETobjkt.com, presented by Fakewhale
- RGBMTLMontréal, Canada, hosted by Strano and powered by Strangelove
- Ribela FestivalSarria, Spain, hosted by Sutanz and POLE, powered by Tezos
- Group Show, DAILY Programdaily.xyz, presented by Fellowship
- Days of Summer GalleryOncyber Gallery, presented by oncyber, AOTM and Foundation
- Seattle NFT MuseumSeattle, WA, USA, presented by Tez Tones, powered by Tezos
- NFC SummitLisbon, Portugal, presented by objkt.com and XCOLLABZ, powered by Tezos
- Digital Art DeathmatchBEEPLE Studios, Charleston, SC, USA
- Shyheim’s 30th AnniversaryTHC Museum, New York, NY, USA, presented by teia.cafe
- SHILLR × HUG Mobile Galleryfive public locations, New York, NY, USA
- I am…Iham Gallery, Paris, France, presented by Gxrls Revolution and Jean-Michel-Pailhon
SOLO SCREENINGS AND PUBLIC ART
- 30 Seconds MuseumNeo Shibuya TV, Tokyo, Japan
- Arte en la PlazaSala Equis, Madrid, Spain
- Digital Billboardsworldwide, presented by Artcrush Gallery
- Times SquareNew York, NY, USA, presented by Artcrush Gallery
SELECTED PRESS & FEATURES
- Caique Nucci, “CRIS WAR, by Cristian Guerra,” Complete Magazine
- Raquel Gaudard, “Between Fragments and Systems”, objkt.com
- Felt Zine, “Merging Audiovisual Art & Algorithmic Process With Digital Artist Cris War”
data_transform
STATEMENT
data_transform reflects on the translation of perceived reality into data.
Starting from directly captured footage of trivial, everyday scenes, the work subjects bodies and environments to computational operations that render them analyzable, fragmenting presence and reorganizing it as information.
In this shift, lived experience becomes computable information. Figures no longer appear as coherent entities, but as variable configurations defined by parameters and relations.
Echoing the logic of surveillance systems, the work asks what it means to be visible only when one can be detected, recorded, and processed. Identity emerges from what is captured and interpreted by the system, while what falls outside these conditions remains unseen.
The work also carries the melancholy of knowing oneself no longer only as an individual, but as an agglomeration of information. It ultimately exposes the gap between experience and formalization, showing how technical infrastructures define the limits within which the real is constructed.