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.
In its seventh edition, the Biennale looks closely at AI’s 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.
“Counting its viewership in the millions, The Wrong just might be the world’s largest art biennale — the digital world’s answer to Venice.
To visit, art lovers needn’t purchase a plane ticket, book a hotel or queue outside galleries: Admission requires only internet access. ”
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^.
1. The Wrong Biennale: The Main Event
Dates: November 1, 2025 – March 31, 2026
Location: Global / Online
Learn More: thewrong.org
Founded in 2013 by David Quiles Guilló 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.
This seventh edition treats AI as both a tool and a collaborator. Algorithms extend intuition. Authorship becomes a question instead of a claim.
How to Navigate The Wrong Biennale
Start at The Wrong Biennale homepage. Each blue link opens a Pavilion card with their statement and list of curators and artists. Click “Enter Pavilion” to move off-site.
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.
2. Video Edition ArtIn: A Wrong Biennale Pavilion
Curated by: Ebba Jahn
Pavilion: Video Edition ArtIn
Full Video: Watch on Vimeo
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.
The Video Edition ArtIn Pavilion reads like a lab notebook made public. 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.
Video Playlist & Blog:
Title music – Double Bass Quartet SEQUOIA Meinrad Kneer/Antonio Borghini/Miles Perkin/Klaus Kürvers
1 Xeno Genesis Circuit – Gözde Betülay Yorulmaz, Istanbul/Turkey
2 Transmuted Structures – Andrew McSweeney, Cork/Ireland
3 Olympic Dahlias – Joelle McTigue, Montenegro | Music – Marcello Magliocchi, Matthias Boss
4 Range of View – E & Dwayne Jahn, Berlin/Germany | Music – Philip Goddart
5 Helium and Water I – Laura Fong Prosper, Panama/Berlin
6 Awe – Romina Rahnamoun, Tehran/Iran | Music – Cello Quartet Hunter
Underwater Guilherme Rodrigues, Gábor Hartyáni, Uygur Vural, Hui-Chun Lin
7 Ethereal Woman – Romina Rahnamoun, Teheran/Iran
8 Chimere and the Eternal Golden Braid – Maria Sappho, Glasgow /Scotland
9 Fragment – Barry Anderson, Kansas City/USA
10 Afterglow of Chaos – Pierre Ajavon, Paris/France
11 Sculptural Fabrications – Dwayne Jahn & Ebba | Music – Hassina Sakhri
12 Helium and Water II – Laura Fong Prosper, Panama/Berlin
13 Anemone – Gergana Ivanova & Ioana Țurcan, Romania
14 Insomnia – Eliza Ari, Russia/Turkey
15 Cheat – Dominika Aurelia Korycka, Warsaw/Poland
16 Anatomia – Megan Volpe, Genova/Italy
17 Journey/2.0 – Tianyun Zuao, London/UK
18 Broke Bad – Ornagh, London/UK | Soundtrack – Anja Kreysing
19 Helium and Water III – Laura Fong Prosper, Panama/Berlin
20 ZEMI – Maria Sappho, Glasgow, Scotland/UK
21 Tidal Interferences – Anja Kreysing, Münster/Germany
22 Art Video Poem 7 – Ebba & Dwayne Jahn, Berlin/Germany
23 Introspective Initiations – Arun Natarajan, Henrik Meierkorn | Music – Mia Zabelka, Steiermark /Austria
Blog:
24 Video Installations by Jean-Julien Pous are linked to his website.
25 Curator Ebba Jahn – About
3. Olympic Dahlias: Within the Video Edition ArtIn Pavilion
Artist: Joelle McTigue
Pavilion: Video Edition ArtIn
Music: Track 3 LEOCANTOR trio (plus): “Sacre de l’ete”,
Marcello Magliocchi (drums, percussion) and Matthias Boss (violin),
Recorded on Aug 12, 2024, Church of St. James of Escholzmatt/Luzern, Switzerland
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.
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.
The score moves like breath under circuitry. Magliocchi’s percussion and Boss’s violin set a pulse. The bloom becomes mechanical and human at once.
4. Compost^: A Wrong Biennale Pavilion
Curated by: Ricardo Bodini, Camila Jordan, and MarkleSparkles
Pavilion: Compost^
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.
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.
The first phase of the Pavilion is Mycelium dives into this abyss, where trash becomes tissue. It questions, “What value is in a space where everything is expendable?”
The second phase, Terra preta^ will open soon as a space for text speculation. My text work included in this phase is ‘the archive dreams us: where light remembers wrongly, seventeen haiku’, which explores how we interact with memory.
Compost^ thrives on the detritus, the remnants of the algorithm’s 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.
Digital Territory
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.
If you are in London, Trondheim, Mexico City, Münster, Porto, Valencia, Budapest, Moscow, or Toronto between November and March, check the Node section of The Wrong Biennal’s 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.
What to Expect Next
Don’t want to miss my work in Terra preta^? Subscribe to my Substack below.
