What's right about The Wrong?
The New York Times.
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.
Reshaping the Experience of Art.
Fakewhale.xyz
As digital spaces increasingly permeate our lives, the landscape of contemporary art too has witnessed a significant transformation, shifting from the confines of traditional gallery spaces to expansive digital platforms. This new arena is where The Wrong Biennale stands out, reflecting this evolution and actively shaping the narrative of what artistic expression in the digital age can be.
Exploring the unconventional.
Clot.
Gone are old comparisons with other important biennials, The Wrong takes a step further. In addition to consolidating itself as the epitome of contemporary digital culture and, therefore, of artistic experimentation and innovation, its model insists on blurring geographical borders, remaining open to all those artists who have something interesting to say, regardless of their kind and origin. The result is a refreshing alternative to traditional models of showcasing art that provides artists with a completely free, interconnected and global space.
Desafiando estereotipos.
Neo2.
The Wrong insiste en demostrar cómo se pueden aprovechar la tecnología y las plataformas digitales para servir como lugar de encuentro para todas las culturas a nivel internacional. A medida que continúa creciendo y evolucionando, la Biennale ofrece un modelo para abrazar la diversidad, desafiar los estereotipos y fomentar un diálogo global que trascienda fronteras, en este mundo interconectado. Desde 2o13, ha presentado obras de diez mil artistas y curadores, expuestas en ochocientos pabellones, embajadas e instituciones de todo el mundo.
The Wrong 6 Favs.
Chimera.
The Chimera platform's team explored the program of the Wrong Biennale 2o23–2o24 and selected their favorite pavilions.
Artistas indígenas emplacam pavilhão em bienal internacional de arte digital.
Jornal da USP.
Um grupo de artistas indígenas contemporâneos criou um espaço on-line que integra a sexta edição da The Wrong Biennale. Voltada à arte digital, essa bienal tem caráter independente, multicultural, descentralizado e colaborativo. Acontece a cada dois anos com pavilhões virtuais on-line, mobilizando milhares de artistas e curadores de arte em todo o mundo, o que faz do evento a maior bienal de arte do mundo.
The Wrong Biennale emerge de nuevo.
Exibart.
En una era definida por la globalización, donde la tecnología ha reducido el tamaño del mundo y las culturas se entremezclan cada vez más, The Wrong Biennale emerge de nuevo, y ya van seis, como una plataforma notable que trasciende las fronteras y sirve como terreno común para todas las culturas. Esta ‘exposición de exposiciones’ desafía los límites tradicionales del espacio físico, facilitando una conversación global que celebra la diversidad, desafía las ideas preconcebidas y une a artistas y amantes del arte de todo el mundo.
Universal y gratuita.
PAC.
En este momento actual de guerra, conflictos e inestabilidad internacional, The Wrong Biennale surge como un ejercicio de convivencia ejemplar. Una plataforma digital de relevancia internacional que trasciende fronteras, creando un espacio común para el intercambio y la convivencia cultural, celebrando la diversidad, desafiando prejuicios y uniendo a artistas, curadores, instituciones y amantes del arte de todo el mundo.
Dimensiunea științifică a artei.
Radio România Cultural.
Evoluția desktopurilor de la mașini mari și fixe la dispozitive elegante și portabile, precum tablete și telefoane, ne-a ușurat accesul în lumea digitală. Pe măsură ce petrecem mai mult timp în lumi virtuale, este crucial să fim conștienți de potențialul lor de a ne izola, de a ne distrage sau de a distorsiona experiențele noastre. În timp ce ecranele și instrumentele digitale oferă posibilități imense de conectivitate și cunoaștere, trebuie să ne confruntăm și cu limitările și bias-urile încorporate în tehnologia cu care interacționăm. Ideea acestor dispozitive drept portaluri devine centrală pentru înțelegerea echilibrului delicat dintre beneficiile lor și capcanele potențiale.
Unrestrained by physical limitations.
Tehran Times.
In the Wrong Biennale, art is unrestrained by physical limitations and resonates across digital networks, especially when it comes to its adept fusion of art with technology. This union serves a twofold purpose: it amplifies the outreach of the showcased artworks and provides artists with a boundless creative space, unhindered by tangible confines. In this way, artists are able to share their innovations with a global audience and explore groundbreaking expressive techniques, reinforcing art’s global appeal.
окно возможностей.
Art and You.
The Wrong Biennale, которую часто называют цифровым ответом Венецианской Биеннале, родилась в 2o13 году как глобальная инициатива по созданию и продвижению цифрового искусства и культуры. Причем арт – организация ROJO запустила ее без государственной поддержки и больших бюджетов. С тех пор ничего не изменилось в смысле принципов организации. Биеннале открыта для участников со всего мира по предварительной заявке и является демократической альтернативой зачастую элитарной системе ярмарок. Конечно, заявки рассматривают и отбирают, как и на многих большие биеннале, которые существуют в реальном мире. На WrongBiennale собираются произведения разной ценности и качества, поэтому там есть как наивные работы молодых художников, так и сложные произведения авторов, которые работают в интернете с начала 199o-х.
A sign of hope for a new wave of artists.
STIR.
The Wrong is a courageous, rebellious and radical effort to turn the art world’s hierarchies on its head. Its existence is a testament to the changing times of the industry, and a signal that the undercurrents which created troubled waters will soon turn into a tsunami that will wash away any signs of exclusivity, elitism, and economic and social prejudices - all the things in the art world which disappoint us repeatedly. The Wrong, more than anything, is a sign of hope.
The Wrong nº5
Neo2.
The Wrong es una plataforma digital que permite el acceso a artistas, comisarios y otros agentes artísticos, generando circuitos alternativos a modelos convencionales de exposición, no tan receptivos a la evolución tecnológica, que ha ido alcanzado el arte en tiempos recientes.
A maior bienal de arte do mundo.
Bem Web Art.
A video podcast episode brings a tour of the fifth edition of The Wrong Biennale, one of the biggest biennials of art in the world. The exhibition runs until March 1, 2o22 and is an open, inclusive, growing event - which includes new works and new curatorships at any time.
Lo mejor del arte digital.
El País.
The Wrong es la bienal de arte más grande del mundo. Muchos medios de comunicación, The New York Times entre otros, la consideran la respuesta del mundo digital a Venecia. Su sistema es descentralizado, accesible y democrático.
Streaming platforms for art.
Artsy.
David Quiles Guilló, founder of The Wrong Biennale, said Wrong TV was meant as a respite from the constant barrage of pandemic-related news. He wanted to provide a digital art-viewing experience that alleviates the burden of choice that many feel when trying to decide what to consume online. “It’s meant to take away the selecting responsibility, to avoid the Netflix frustration of spending more time selecting than watching, and suffering if the selection does not live up to the expectations,” Guilló wrote over email. “An online exhibition is constructed mostly following on-demand terms like click and watch, scroll; you decide what to click on, and if you watch it until the end or not.” Guilló’s goal with Wrong TV is to take some control back from the viewer— to treat streaming more like a curated museum exhibition than an endless series of choices.
Net art roulette.
Running Dog.
Press Refresh is curated by David Quiles Guilló, who describes himself as ‘an art project maker, new media powerhouse, awarded creative and full weirdo at large.’ According to Press Refresh’s website, the exhibition is ‘an ongoing group show, open to submission, showcasing one by one, a selection of digital culture artefacts.’ I would describe it more as net art roulette. To navigate the exhibition, you use a chunky black and white refresh button that floats on the page. Each time you press it, a new work appears on your screen. The works are varied in their media formats and include videos, JPEGs, slideshows, animations and screenshots.
The Wrong gets online exhibitions right.
The Architect’s Newspaper.
Art exhibitions tend toward the physical, a fact made no more obvious than by the ever-growing count of international biennials; every year, artists, architects, curators, designers, and all manner of hangers-on set off to Venice or São Paolo or Seoul. Jet fuel is burned, lukewarm Prosecco is drunk. In an era that traffics in data, what might be the digital answer to the brick-and-mortar biennial?
Biennale nie takie jak inne.
NN6T.
The Wrong New Digital Art Biennale to największe, jedyne w swoim rodzaju i skali biennale aktualnej sztuki cyfrowej i internetowej. Wirtualne pawilony biennale czekają na zgłoszenia twórców i twórczyń, ale także kuratorów i kuratorek – nabór do czwartej edycji trwa. Specjalnie dla czytelników NN6T z głównym koordynatorem biennale, Davidem Quiles Guillo rozmawiała Julia Żabowska.
El nuevo canal del arte.
El Mundo.
«Tenemos que ofrecer alternativas». Eso es lo que pensó David Quiles Guilló cuando llegó el anuncio del estado de alarma.
какие-то неправильные биенналe.
Art Yзел.
Даже в самые радужные времена поездку на биеннале мог позволить себе далеко не каждый, что уж говорить про нынешние. Еще в 2o13 году, руководствуясь желанием сделать контакт зрителей с искусством более доступным, международная группа энтузиастов создает The Wrong Biennale, как коллаборативную горизонтальную инициативу. Замысел максимально использовать потенциал интернета, по понятным причинам, усилил свою актуальность в последние два года. Децентрализованный глобальный показ происходит одновременно по всему миру не только онлайн, но и офлайн в течение заданного времени. Масштабный процесс освещался и освящается прессой на разных языках, включая, например, такого мастодонта, как The New York Times.
The Wrong walkthrough.
University of Linz.
Streamed live via Youtube on Jan 18, 2o2o.
Let's Play: The Wrong Biennale
La irreverència del nou art.
El Temps de les Arts.
És difícil distingir els límits entre l’esfera digital i l’analògica. Si bé, l’una és complementària de l’altra. I cap d’elles podem obviar perquè, a la fi, totes dues composen la nostra contemporaneïtat. En un present convulsat pel tràfec modernitzador, allò digital decanta la balança de la realitat cap a noves formes comunicatives, expressives i artístiques. ‘The Wrong. Biennal Internacional d’Art Digital’ sintetitza aquesta deriva.
The right conditions for digital art.
Hyperallergic.
The Wrong, by its nature, is focused on the connection of otherwise separate spheres — David Quiles Guilló started the festival in 2o13 as a way for artists to circumvent the elitist infrastructure of established art fairs, which can be difficult environments for displaying the sort of digital and new media work the Wrong focuses on, by hosting their work on websites that could be accessed by anyone, from anywhere, for free.
Flexible invencible.
Neo2.
The Wrong se celebra en todo el mundo por que tiene lugar en internet y así atraviesa países y soportes como un gusano gigante virtual e impetuoso, como un enorme conducto digital. Se expone en pabellones, espacios virtuales comisariados que son el alma de The Wrong, el Kern de la muestra y también en menor medida en sedes offline, sus embajadas; project spaces, galerías e instituciones con charlas, workshops y exposiciones.
Klick für klick zum nächsten kunstwerk.
Spiegel.
Kunst sollte frei zugänglich sei - für jeden. Das ist die Idee hinter der Netz-Biennale "The Wrong". Die virtuelle Ausstellung zeigt die schier unendlichen Möglichkeiten digitaler Kunst.
La plus grande manifestation d’art contemporain en ligne.
Le journal das Arts.
Cette manifestation d’un nouveau genre ne reproduisait pas le modèle d’une biennale traditionnelle, mais en utilisait le vocabulaire et les concepts. Si son fondateur utilise le mot biennale pour faciliter sa compréhension, The Wrong Biennale est loin de ce qui a été fait avant.
A new opportunity for art.
New Media Caucus.
The Wrong is a moment in time. An event of events, an exhibition of exhibitions. A lighthouse that propels the talent, and incites it to join many others into a brand new wave of digital art. All crowd composed in a massive collaborative worldwide effort that fades into time after 90 days, and only blossoms every 24 months. The Wrong is a new opportunity for art. A temporary open platform to gather and showcase talent, and a chance to join the digital artists and curators in their work. A moment in online history, but still too soon to be reflected upon.
Arte digital sin límites.
Información.
Si la Bienal de Venecia es la exposición internacional de arte contemporáneo más prestigiosa del mundo, The Wrong New Digital Art Biennale aspira a tener la misma importancia dentro del incipiente universo del arte digital.
It’s old and new and everything at once.
New Media Caucus.
Get some pizza and a soda, turn off all the lights, hunker down with your glowing screen machine, and click around. Put your pants on and head out to one of the embassies. Take your time its old and new and everything at once.
Un gran selfie colectivo del arte digital.
El País.
The Wrong es como un gran selfie temporal colectivo de la escena del arte digital internacional. Las fronteras de lo que denominamos arte digital son aun bastante difusas e indefinidas y esta bienal ayuda en cada edición a definir un poco más las características de este medio.
De grootste biënnale voor digitale kunst.
Metropolism M.
De grootste biënnale voor digitale kunst is terug deze winter met een derde editie, met meer participerende kunstenaars en curators dan de vorige twee edities bij elkaar. Naast de ‘paviljoens’ op de website worden er ook offline projecten georganiseerd in ‘ambassades’. Loes van Beuningen sprak oprichter David Quiles Guilló over zijn project The Wrong.
Нет-арт is wrong
Aртгиде.
Современные технологии расширили границы искусства и его исследовательское поле: нет-арт и искусство постинтернета активно влияют на культуру и предлагают новые формы взаимодействия со зрителями.
Kunst in tijden van internet.
de Tijd.
Vergeet de Biënnale van Venetië. Tot eind deze maand kunt u een nog indrukwekkender tentoonstelling bezoeken. En u hoeft er niet eens voor uit uw zetel te komen. Welkom in het tijdperk van de internetkunst.
Uma grande selfie coletiva da arte digital.
El País.
The Wrong é como uma grande selfie temporária e coletiva da cena da arte digital internacional. As fronteiras do que chamamos de arte digital ainda são bastante difusas e indefinidas e esta bienal ajuda, em cada edição, a definir um pouco mais as características deste meio.
Passeggiata nella wrong (biennale).
Arshake.
Insomma, c’è molto da navigare, ancora moltissimi Padiglioni da vedere. Una volta superata la sensazione di affollamento di testo dell’interfaccia, una grafica lineare molto curata che guida all’interno dei Padiglioni attraverso piccoli abstract che non perdono mai la veduta d’insieme, ci si avventura nelle parole cancellate, un modo ben pensato per attirare l’attenzione sui contenuti iper-testuali
Дигиталната „Галерия“ и бъдещето на изкуството в мрежатa.
Radio Bulgaria.
The environment for the creation of contemporary digital art is too fragmented into small groups that are often negative towards others and lack a basis for good cooperation.
世界最大級のデジタルアートのビエンナーレ「THE WRONG」に見る、オンラインキュレーションの可能性
Massage.
こうしたビエンナーレの規模の拡張は、オンライン文化の拡大しつつある勢力を反映したものである一方、The Wrongの運営方針である徹底した地方分権にもその理由がある。参加キュレーターたちには、純粋に自分たちのコンセプトを表現する自由が与えられている。美術館におけるキュレーションとは真逆にも見えるこうした方針は、まさにこのビエンナーレの名称「The Wrong」にもダイレクトに表現されている。どんな間違いにも価値があるのだ。自由だけどカオス。そんなThe Wrongの設立者のDavid Quiles Guillóにオンラインキュレーションについて話を聞いた。
El arte digital tiene su propio espacio.
Arte al límite.
The Wrong Biennale surgió cuando el arte digital seguía siendo minoritario y ajeno al sistema tradicional del arte. En la actualidad, seis años después, está mucho más presente y ha evolucinado en forma paralela a a tecnología, tanto así que este año espera tener millones de visitantes en el total de sus espacios.
Dette er verdens største digitale kunstutstilling.
Subjekt.
Hver gang du føler at du burde brukt tiden din på nettet bedre, bør du trykke deg inn på biennalen, og hver gang den samme følelsen kommer tilbake bør du trykke deg ut. Å være for lenge på et museum eller i et galleri er utmattende: Man klarer bare å ta inn en viss mengde uttrykk før hjernen ikke orker mer. Å være i et digitalt galleri er kanskje enda verre. Når skjermen fylles av små bokstaver, tall og det som føles som uendelig mange knapper å trykke på, er det lett å falle ut.
Det er umulig å ikke kjenne på den følelsen når man besøker verdens største digitale kunstbiennale: The Wrong. Bak noen av knappene kan det skjule seg god kunst, bak andre: Utmattende bilder, kuriøs informasjon og sikkert veldig mye mer som vi ikke har rukket å se ennå. For å forstå litt bedre hva som er greia tok vi en prat med grunnleggeren av biennalen og en av årets norske kuratorer.
How the first biennial of digital art changed our definition of exhibiting art.
Happening.
The Wrong Biennial is a unique event; it’s almost a Venice Biennale of digital art. Established six years ago, the Wrong Biennial is currently taking over both the internet, with artworks by 1400 artists presented through 70 pavilions, and physical spaces known as embassies.
Very much like Venice during the opening week, seeing everything is almost impossible; luckily, we’ve selected a few of the biennial’s most interesting propositions.
La tercera edición de la bienal de arte digital.
Centro de Cultura Digital.
El arte después del internet ha derivado en una constelación de prácticas diversas que pueden o no tener relación entre ellas, la bienal The Wrong es una buena muestra del caleidoscopio del arte producido en estos días. La bienal se lleva a cabo en una gran variedad de plataformas, desde páginas de internet, descargables de Unity en 3-D, aplicaciones de realidad aumentada, páginas de Instagram o de Facebook, videos, archivos de pdf y un largo etcétera.
Into the seemingly endless corners of The Wrong.
Artslant.
Because of the sheer magnitude of content, tackling the biennial can be an overwhelming prospect, even for the initiated. We’re easing you into the world of The Wrong, sharing some of our favorite work from the 2o17 edition. But as you’ll quickly learn, with such an extensive exhibition at your fingertips, it’s hard to stop here. Consider these works as launching points for charting your own path into the seemingly endless corners of The Wrong.
Instant radical inclusion.
AQBN.
The project is open to participation and embraces an “instant radical inclusion trademark technique” with an open source team of curators. ‘Instant Radical Inclusion’ means “if you believe your art and/or your curating talent must be part of The Wrong, then for us it’s a must” and it accepts submissions up until the last day of the event.
The Wrong Project that’s So Right.
Furtherfield.
The Wrong Biennale, organized by David Quiles Guilló, is possibly the largest internet-based exhibition to date. With a flexible roster of hundreds of curators and thousands of artists, this estimation of the exhibition may just be correct. However, as with any project of such a size, The Wrong may serve to be, as well as an overwhelming survey of contemporary media art, it could also be a mirror of individual critics and curators’ desires. But what it also represents for me is a grand bazaar of the current state of media art, and what I would like to discuss, along with a couple of the ‘pavilions’, which are the meta-effects of the exhibition.
The world's largest art biennial is now online.
Artnet News.
If digital art is to be taken as seriously as its more traditional counterparts, perhaps a biennial is just what it needs.
Digital art gets real.
Canadian Art.
While digital art attempts to marry its democratic origins with a desire for legitimacy, a new art biennial has been quietly making waves within the scene, and putting forth challenges to a still-hesitant art establishment.
Best of 2o15: our top 1o works of internet art.
Hyperallergic.
I appreciate The Wrong for presenting a sophisticated way to navigate the world of net art — an ambitious feat, and an impressive one considering technicalities such as web hosting — and giving free reign to its over 90 curators to offer both fresh and seasoned artists a slice of cyber real estate. Boasting over 1000 artists and no theme, the biennale delivers vast randomness that chiefly underscores the many ways digital artists are experimenting with the internet, from the medium itself to its concepts
Una bienal heterogénea, difusa y sorprendente.
El País.
A primera vista puede parecer un proyecto difuso e inabarcable, pero comparado con la inmensidad de Internet o de la comunidad artística mundial, The Wrong es un proyecto muy concreto, donde cada curador en cada pabellón y en cada embajada tiene muy claro lo que quiere mostrar y cómo lo quiere mostrar. Yo selecciono a los curadores de pabellones y embajadas, y ellos eligen a sus artistas.
Welcome to the world's largest digital art biennial.
FASTCO design.
When the inaugural digital art biennial The Wrong launched in 2o13, it was the first of its kind. A massive undertaking, the online art show organized by David Quiles Guilló, founder of the São Paulo-based arts organization ROJO, aimed to bring together the best of net art and display it not on the walls of galleries or museums, but in its native medium.
Art remains something sacred.
Rhizome.
I found myself over the coming days checking regularly back in to the Wrong’s homepage, clicking through to a curated space in which I’d spend perhaps a few minutes before returning to other work. Woven into my daily life, these works were framed in space by my domestic environment and in time by my browsing before and after each visit.
The Wrong (again).
Metropolis M.
Begin november ging de digitale kunstbiënnale The Wrong voor de tweede keer van start. In de eerste editie in 2o13 werd het werk van driehonderd kunstenaars bijeengebracht door dertig curatoren. Een enorm aanbod waaruit het al lastig kiezen was. Dit jaar is de biënnale drie keer zo groot, met negenhonderd kunstenaars en negentig curatoren. Wordt het aanbod niet te groot?
Un survol de l'état actuel de la biennale en ligne.
NT2.
L'une des grandes forces de The Wrong est d'offrir un panorama des possibilités - autant visuelles, structurelles que théoriques - du commissariat d'expositions virtuelles. À travers la cinquantaine de pavillons de The Wrong, nous constatons autant de manières différentes de présenter des expositions sur le Web.
Digitale kunstschau im netz.
Deutschlandradio Kultur.
Im Vergleich zu den übermächtigen, allgegenwärtigen und standardisierten Benutzeroberflächen der Nutzer-Milliardäre wie facebook, twitter, instagram oder ebay, und amazon – die sonst das Bildschirmgeschehen dominieren – sind selbst die skizzenhaften, kitschigen, improvisierten – Erlebniswelten, allein schon deren Vielfalt, pixelige Augenweide.
Launching the largest digital biennale in the world on shoestring budget.
Artfcity.
It’s hard to understate how impressive the scale of this undertaking is, given the budget it runs on. Wrong founder and organizer David Quiles Guillo has some help from Cargo to provide server space, but funds the rest of the biennale out of pocket. The fact that an event this size this can even exist on a small budget is slightly mind-boggling.
Even digital art doesn’t last forever.
Studio Beat.
In the early days of the web, art lovers and history geeks alike fantasied about the possibilities of the virtual gallery. Physical art can only last for so long before it begins to decay, but objects online seemingly exist forever, cyber-preserved, protected from the damages of sunlight and time.
Now that we’ve all had some time to get used to the internet, it’s obvious that the dream of the perfect web museum will probably never be realised. It turns out that time passes on the internet even faster than it does in “real life”. Links go dead, file formats get corrupted, servers crash and entire websites are lost forever. Still, there are unmistakeable advantages to showing art in an online space.
Not only does net art have the potential to be totally free and accessible worldwide, the internet itself is a unique medium which many young and contemporary artists are using to create exciting new work.
First impressions: This thing is massive.
Artfcity.
The Wrong Biennale is full of weird “Easter eggs” like that. All the awkward navigation, wonky layouts, and wildly inconsistent curation make the experience a bit like a scavenger hunt. That is to say, it can be frustrating but also fun if you aren’t looking for the work of one specific artist. So if you have a few hours to kill, let yourself get lost. Every once and awhile, you’ll stumble across something that’s really great.
The Wrong - bienal de arte digital.
Canal18o.
Tendo como missão criar, promover e impulsionar a arte digital contemporânea por todo o mundo, The Wrong é a maior bienal de arte digital. Uma grande exposição na net, que já alargou o âmbito com algumas mostras "live" em galerias de todo o mundo.
A digital biennial multi-geographical exhibition.
Fad magazine.
Sometimes it is difficult to find time out of the confines of a nine to five existence to enjoy the brighter sides to life that Smiths singer Morrissey swears he’s seen, “but not very often.” Indeed, those laborious hours, that long and futile commute can be rather a hindrance. However all is not lost, with this rare opportunity to escape away, Smart-phone bound, to visit a series of art locations and top up on your culture fix.
Xpанилище мемов, мертвый веб и кодинг-арт
Furfur.
Развитие теxнологий значительно расширило возможности и область выражения для искусства. Сегодня арт-объекты пишутся на языке HTML5 и Javascript, создают новую цифровую эстетику и погружают зрителя в интерактивную реальность. Веб-искусство демократично и легкодоступно — достаточно открыть новую вкладку браузера, и вы оказываетесь в выставочном пространстве.
По этим принципам работает биеннале цифрового арта The Wrong, которая без поддержки каких-либо фондов или государственных инвестиций показывает всем желающим работы интернет-художников. The Wrong проxодит всего лишь в третий раз, но масштаб уже впечатляет — 50 с лишним онлайн-павильонов, 100 кураторов и порядка 500 художников. Мы выбрали несколько интересныx работ и галерей на биеннале.
The Wrong is big. Really ridiculously, absurdly large.
New Media Caucus.
The scale is mostly a positive thing — as someone fairly immersed in new media and net art, I found many pavilions filled with unfamiliar artists — it was great to break out of the digital art I’m exposed to through social media into currents of work that are farther afield. On the downside, the site offers little in the ways of an entry point, which can create a barrier for those not already knowledgeable about net art.
Alright on the Wronggrid.
Shituationist institute.
The Wrong Biennale is a biennale taking place online. Websites are the pavilions. But the spatial and temporal concept of a biennale does not fit the digital realm. Even if exactly this contradiction is what is played out here, I am still unconvinced. Does the vast space of the net need the simulated spatial scarcity of a biennale? Why these simulated borders, why are there digital walls?
The current wave of digital artworks online almost feels like when streetart became a hype, you had the young creative crowd joining for a short time and then dropping out again quickly. Usually it gets interesting after the hype. But as with streetart, also the current digital aesthetics hype has provided surprising experiences
Absolutely huge.
Prosthetic knowledge.
The Wrong is the largest and most comprehensive digital art biennale today. Its mission is to create, promote and push positive forward-thinking contemporary digital art to a wider audience worldwide through a biennial event that gathers the best art selected by the best, while embraces the young talents of today’s exciting digital art scene.
The Wrong is divided into online and IRL locations around the world. The online biennale happens in pavilions; virtual curated spaces in which selected works are exhibited. The offline biennale happens in The Wrong Embassy Network, art spaces, galleries, institutions and artist run spaces in cities around the world which feature temporary AFK projects, featuring live performances, workshops, artist talks and exhibitions. The Wrong has no theme. Each of the official pavilions and embassies has a curator or team of curators responsible to select its participating artists.
A maior bienal de arte digital.
Público.
Tendo como missão criar, promover e impulsionar a arte digital contemporânea por todo o mundo, The Wrong é a maior e mais completa bienal de arte digital.
世界最大的艺术双年展已上线！新数码艺术双年展
CNarts.
终于有一个不需要订机票和酒店就可以参加的国际艺术活动了。“The Wrong"（错误）是世界上最大的（如果不是唯一一个）新数码艺术双年展。该双年展的第二届展览已于今年11月1日拉开帷幕。
Dünya çapında katılımla the wrong dijital sanat bienali başladıa.
Bigumigu.
Sanatın geleneksel kalıplardan ayrılarak sergi alanı, kendi başına mekan ve zaman paradoksun bağımsız varolabildiği bir düzlem sunan dijital sanat disiplinleri; yeni bir algı, anlayış ve zemin yaratıyor. Bu açıdan dijital sanat çağdaş ve modern sanatla karşılaştırıldığın kendini gri bölgeye atabilecek özgürlüğe de kavuşabiliyor.
Where the physical plane meets the new, digital flesh.
CBC arts.
Since The Wrong is this international project, it can link people who are like-minded across the globe. To me, and the people who operate within my community, digital art is contemporary art.
Glitch art at the New Digital Art Biennale.
Dazed.
The Wrong – New Digital Art Biennale is officially open to visitors. The amount of digital art work arrayed across its online pavillions is gobsmacking, and I heartily encourage you to go lose an afternoon in there. The Wrong obsensibly has no theme, instead devolving curatorial responsibility to each of the talents in charge of the pavillions.
An art biennale for the digital age.
LSN global.
Any art lover worth his salt knows that the main art shows in the calendar every year include Art Basel, the Venice Biennale and Frieze London. Exclusive and expensive to attend, these shows can be insular and elite. Now David Quiles Guilló has created The Wrong, a digital art biennale that is accessible to all.
Una bienal de arte que no tiene nada de equivocada.
Picadillo Mag.
"The Wrong – New Digital Art Biennale" es una exposición en línea que reúne lo mejor del arte digital. Este último, toma aquí muchas formas: gráficas digitales con fotografías encontradas, ilustraciones, animaciones, piratería y trabajos fallidos y un sinfín de obras más que se pueden considerarse "inclasificables". Su fundador, David Quiles Guilló, reflexiona sobre proyectos anteriores, actuales y futuros.
Video courtesy of A.Bill Miller.