{"id":339109,"date":"2025-12-11T11:34:21","date_gmt":"2025-12-11T11:34:21","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/the-wrong-biennale-7th-edition\/"},"modified":"2025-12-11T11:34:21","modified_gmt":"2025-12-11T11:34:21","slug":"the-wrong-biennale-7th-edition","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=339109","title":{"rendered":"The Wrong Biennale: 7th Edition"},"content":{"rendered":"


\n<\/p>\n

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The Wrong Biennale does not belong to one city. It spreads through browsers and time zones, spilling through hyperlinks instead of halls. In this dispersed geography, curators build their own rooms; coded, filmed, performed, or imagined, each a fragment of a larger, shifting whole.<\/p>\n

In its seventh edition, the Biennale looks closely at AI\u2019s creative residue: what happens when image-making becomes a conversation between human memory and machine suggestion. What remains after prompts end. Where memory, dataset, and intention meet.<\/p>\n

\n

\u201cCounting its viewership in the millions, The Wrong just might be the world\u2019s largest art biennale \u2014 the digital world\u2019s answer to Venice.<\/p>\n

To visit, art lovers needn\u2019t purchase a plane ticket, book a hotel or queue outside galleries: Admission requires only internet access. \u201d<\/p>\n

The New York Times<\/a><\/cite><\/p><\/blockquote>\n

As an artist, I work inside that space where images, sound, and video act like notes passed between a person and a machine. My work is included in two pavilions, Video Edition ArtIn and Compost^.<\/p>\n

\"\"\"\"
Screenshot of The Wrong Biennale homepage<\/a>.<\/figcaption><\/figure>\n

1. The Wrong Biennale: The Main Event<\/h2>\n

Dates:<\/strong> November 1, 2025 \u2013 March 31, 2026
Location:<\/strong> Global \/ Online
Learn More:<\/strong> <\/a>thewrong.org<\/a><\/p>\n

Founded in 2013 by David Quiles Guill\u00f3 and organized by The Wrong Studio, the biennale is decentralized by design. There is no single headquarters and no fixed route. You enter through a list of Pavilions, then cross into independent sites and social pages that host the work. It is democratic and porous. Coders, artists, and curators meet without the usual gatekeeping.<\/p>\n

This seventh edition treats AI as both a tool and a collaborator. Algorithms extend intuition. Authorship becomes a question instead of a claim.<\/p>\n

How to Navigate The Wrong Biennale<\/h3>\n

Start at The Wrong Biennale homepage<\/a>. Each blue link opens a Pavilion card with their statement and list of curators and artists. Click \u201cEnter Pavilion\u201d to move off-site.<\/p>\n

Some Pavilions also host Embassies, in-person spaces where the digital turns social, and networks become places across cities during the five months. Each Embassy acts as a local node in a global organism.<\/p>\n

\"\"\"\"
Video Edition ArtIn: A Wrong Biennale Pavilion<\/a> | Curated by Ebba Jahn<\/figcaption><\/figure>\n

2. Video Edition ArtIn: A Wrong Biennale Pavilion<\/h2>\n

Curated by:<\/strong> Ebba Jahn
Pavilion:<\/strong> Video Edition ArtIn
<\/strong><\/a>Full Video:<\/strong> Watch on Vimeo<\/a><\/p>\n

Ebba Jahn curates an international lineup that spans video, sound, and text, where AI acts as muse, assistant, or co-author. The video artists are paired with improvisational and experimental musicians.<\/p>\n

The Video Edition ArtIn Pavilion reads like a lab notebook made public.\u00a0 Artists show process as well as result: prompts attempted, distortions kept, and accidents left in place, providing a glimpse into how artistic intent evolves when filtered through algorithmic chance.<\/p>\n

Video Playlist & Blog:<\/strong><\/p>\n

Title music \u2013 Double Bass Quartet SEQUOIA Meinrad Kneer\/Antonio Borghini\/Miles Perkin\/Klaus K\u00fcrvers<\/p>\n

1 Xeno Genesis Circuit \u2013 G\u00f6zde Bet\u00fclay Yorulmaz, Istanbul\/Turkey<\/p>\n

2 Transmuted Structures \u2013 Andrew McSweeney, Cork\/Ireland<\/p>\n

3 Olympic Dahlias \u2013 Joelle McTigue, Montenegro | Music \u2013 Marcello Magliocchi, Matthias Boss<\/p>\n

4 Range of View \u2013 E & Dwayne Jahn, Berlin\/Germany | Music \u2013 Philip Goddart<\/p>\n

5 Helium and Water I \u2013 Laura Fong Prosper, Panama\/Berlin<\/p>\n

6 Awe \u2013 Romina Rahnamoun, Tehran\/Iran | Music \u2013 Cello Quartet Hunter
Underwater Guilherme Rodrigues, G\u00e1bor Harty\u00e1ni, Uygur Vural, Hui-Chun Lin<\/p>\n

7 Ethereal Woman \u2013 Romina Rahnamoun, Teheran\/Iran<\/p>\n

8 Chimere and the Eternal Golden Braid \u2013 Maria Sappho, Glasgow \/Scotland<\/p>\n

9 Fragment \u2013 Barry Anderson, Kansas City\/USA<\/p>\n

10 Afterglow of Chaos \u2013 Pierre Ajavon, Paris\/France<\/p>\n

11 Sculptural Fabrications \u2013 Dwayne Jahn & Ebba | Music \u2013 Hassina Sakhri<\/p>\n

12 Helium and Water II \u2013 Laura Fong Prosper, Panama\/Berlin<\/p>\n

13 Anemone \u2013 Gergana Ivanova & Ioana \u021aurcan, Romania<\/p>\n

14 Insomnia \u2013 Eliza Ari, Russia\/Turkey<\/p>\n

15 Cheat \u2013 Dominika Aurelia Korycka, Warsaw\/Poland<\/p>\n

16 Anatomia \u2013 Megan Volpe, Genova\/Italy<\/p>\n

17 Journey\/2.0 \u2013 Tianyun Zuao, London\/UK<\/p>\n

18 Broke Bad \u2013 Ornagh, London\/UK | Soundtrack \u2013 Anja Kreysing<\/p>\n

19 Helium and Water III \u2013 Laura Fong Prosper, Panama\/Berlin<\/p>\n

20 ZEMI \u2013 Maria Sappho, Glasgow, Scotland\/UK<\/p>\n

21 Tidal Interferences \u2013 Anja Kreysing, M\u00fcnster\/Germany<\/p>\n

22 Art Video Poem 7 \u2013 Ebba & Dwayne Jahn, Berlin\/Germany<\/p>\n

23 Introspective Initiations \u2013 Arun Natarajan, Henrik Meierkorn | Music \u2013 Mia Zabelka, Steiermark \/Austria<\/p>\n

Blog:<\/p>\n

24 Video Installations by Jean-Julien Pous are linked to his website.\u00a0<\/p>\n

25 Curator Ebba Jahn \u2013 About<\/p>\n

3. Olympic Dahlias: Within the Video Edition ArtIn Pavilion<\/h2>\n

Artist:<\/strong> Joelle McTigue
<\/strong><\/a>Pavilion:<\/strong> Video Edition ArtIn
<\/a>Music:<\/strong> Track 3 LEOCANTOR trio (plus): \u201cSacre de l\u2019ete\u201d,
Marcello Magliocchi<\/a> (drums, percussion) and Matthias Boss<\/a> (violin),
Recorded on Aug 12, 2024, Church of St. James of Escholzmatt\/Luzern, Switzerland<\/p>\n

I collaged Olympic Dahlias from re-configured AI-generated image sources to imagine the flower designed for Paris 2024. The origin point is Parc Floral de Paris. Red petals echo the torch, then flicker through synthetic light.<\/p>\n

The goal is not a perfect render. Olympic Dahlias compresses a moment of history into pixels, echoing the way culture archives beauty not as a preserved object, but as an evolving algorithm. It is a record of how memory moves through media and changes as it passes through a model.<\/p>\n

The score moves like breath under circuitry. Magliocchi\u2019s percussion and Boss\u2019s violin set a pulse. The bloom becomes mechanical and human at once.<\/p>\n

\"\"\"\"
Screenshot of Mycelium^ section of the Compost^ Pavilion<\/a><\/figcaption><\/figure>\n

4. Compost^: A Wrong Biennale Pavilion<\/h2>\n

Curated by:<\/strong> Ricardo Bodini<\/a>, Camila Jordan, and MarkleSparkles
<\/strong>Pavilion: <\/strong>Compost^<\/a><\/p>\n

The paradox of AI overproduction inherently includes the unnatural curation process of image and text generation that creates millions for the selection of a few.<\/p>\n

The Compost^ Pavilion imagines a second life for these discarded by-products, transforming digital waste into raw material for collective creativity. Image and text become matter. Work decomposes and feeds new work.<\/p>\n

The first phase of the Pavilion is Mycelium<\/a> dives into this abyss, where trash becomes tissue. It questions, \u201cWhat value is in a space where everything is expendable?\u201d<\/p>\n

The second phase, Terra preta^<\/a> will open soon as a space for text speculation. My text work included in this phase is \u2018the archive dreams us: where light remembers wrongly, seventeen haiku\u2019, which explores how we interact with memory.<\/p>\n

Compost^ thrives on the detritus, the remnants of the algorithm\u2019s excess. This pavilion is no temple; it is a scrapyard, a factory of re-creation. From the wasted, we weave; from the rejected, we dream.<\/p>\n

Digital Territory<\/h2>\n

The Wrong Biennale challenges us to reconsider what an art fair or biennial can be. It emphasises networked, global, screen-based, hybrid formats, resonating strongly with contemporary photography and lens-based practices migrating into video, AI, VR, and virtual Pavilions.<\/p>\n

If you are in London, Trondheim, Mexico City, M\u00fcnster, Porto, Valencia, Budapest, Moscow, or Toronto between November and March, check the Node section of The Wrong Biennal\u2019s homepage for in-person events. Some are one-night only, while others run for the season. Otherwise, the full network is reachable from your browser.<\/p>\n

What to Expect Next<\/h2>\n

Don\u2019t want to miss my work in Terra preta^<\/a>? Subscribe to my Substack below.<\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

The Wrong Biennale does not belong to one city. It spreads through browsers and time zones, spilling through hyperlinks instead of halls. In this dispersed geography, curators build their own rooms; coded, filmed, performed, or imagined, each a fragment of a larger, shifting whole. 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