The Wrong Biennale.
A Beacon Of Hope.
The Wrong Biennale is an independent, multicultural, decentralized and collaborative international art biennial, founded in 2013 by David Quiles Guilló, and organized by The Wrong Studio.
The Wrong has grown to become a huge international community and a benchmark in the art scene, which brings together thousands of curators, artists and institutions every two years, online and offline, obtaining institutional recognition and awards such as SOIS Cultura 2019 and an honorable mention of the European Commission’s S+T+ARTS 2020 Awards.
Since 2013, The Wrong Biennale has presented works by ten thousand artists and curators, exhibited in six hundred pavilions, embassies and institutions around the world.
A beacon of hope.
In an era defined by globalization, where technology has shrunk the world and cultures increasingly intermingle, The Wrong Biennale emerges once again, and for the sixth time, as a remarkable platform that transcends borders and serves as common ground for all cultures. This “exhibition of exhibitions” challenges the traditional boundaries of physical space, facilitating a global conversation that celebrates diversity, challenges preconceptions, and unites artists and art lovers from around the world.
The digital revolution.
The Wrong Biennale is the epitome of the digital age, harnessing the power of technology to bridge gaps and foster cultural exchange. Digital art has become a medium that transcends language and geography and offers a universal platform for creative expression.
As our lives become increasingly intertwined with digital platforms and screens, it is only logical that the art world will evolve to adapt to this new paradigm.
A global canvas.
“With millions of viewers, The Wrong could be the world's largest art biennale – the digital world's answer to Venice.” - The New York Times.
The Wrong, unlike its physical counterparts, erases the limitations of a specific geographic location. It is a global canvas where artists, regardless of their background, can showcase their work and connect with a global audience. Artists from diverse cultural backgrounds contribute their unique perspectives and interpretations of the world, enriching the global artistic dialogue.
Cultural Dialogue.
One of the most notable aspects of The Wrong is its ability to foster a cultural dialogue that transcends the boundaries of physical galleries and museums. It is a space where artists can engage in conversations with each other and with audiences from different parts of the world.
The Wrong curators for the sixth edition of its biennial are based in Sunderland, Tehran, Copenhagen, Frederiksberg, Køge, Helsingør, Valencia, Gol, London, New Orleans, Cambridge, Toruń, Brunswick, Toronto, Amsterdam, Bucharest, City of Mexico, Buenos Aires, Colonia, Milan, Brooklyn, São Paulo, Linz, Toluca, Bogotá, Berlin, 's-Hertogenbosch, Los Angeles, Paris, Yangon, Funchal, San José, Hangzhou, Amherst, New York, Tokyo, Vienna, Melbourne, Porto, Matosinhos, Leipzig, Graz, College Station, Montreal, Bangkok, Ljubljana, Edinburgh, Prague, Cincinnati, Da Lat, Moscow, Tel Aviv, Braunschweig, Stuttgart, Belluno, Findlay, Bangalore, North Bennington, Barcelona, Osaka and Maitino.
This international curatorship, as a whole somehow eclectic and at times unfathomable, addresses common human experiences and shared values, showing the challenges that we all face, regardless of our cultural origins.
Challenging stereotypes.
The Wrong challenges preconceptions and stereotypes associated with specific cultures. Artists have the freedom to express their unique voices without being confined by the limitations often imposed by geographic or cultural labels. It forces us to reevaluate our current understanding of reality, and highlights the richness and diversity of all cultures, while revealing the common threads that connect us all.
Accessibility and Inclusivity.
“The Wrong, an alternative but ambitious new path, is a concept that could prove key to the flourishing of arts and culture in post-pandemic times.” - S+T+ARTS 2o2o Jury.
Digital art, as displayed at The Wrong Biennale, is inherently more accessible and inclusive than traditional art forms. Anyone with an Internet connection, and just a click away, can explore digital galleries for free, removing barriers that may prevent some people from experiencing art in physical spaces. This inclusion invites a broader range of voices to join the conversation.
A common place for everyone.
In a world marked by cultural diversity, The Wrong has created an art biennial where all cultures can coexist and collaborate harmoniously. It is a celebration of our shared humanity and the diversity that makes our world so vibrant.
"The largest art biennial in the world" serves as a reminder that art transcends borders, languages and stereotypes, uniting us in the pursuit of creative expression and understanding.
More than two thousand artists and curators from around the world participate in the sixth edition of The Wrong Biennale, open from November 1, 2023 to March 1, 2024 at https://thewrong.org
Conclusion.
The Wrong Biennale is a beacon of hope in the world, demonstrating how technology and digital platforms can be leveraged to serve as a common place for all cultures. As it continues to grow and evolve, it offers a model for embracing diversity, challenging stereotypes and fostering a global dialogue that transcends borders. In this interconnected world, The Wrong Biennale shows the power of art to bring people together, reminding us of our shared humanity and the beauty of our differences.
A Beacon Of Hope is a sample article for The Wrong Biennale 2o23/24.
TheWrong
The Wrong has grown to become a huge international community and a benchmark in the art scene, which brings together thousands of curators, artists and institutions every two years, online and offline, obtaining institutional recognition and awards such as SOIS Cultura 2019 and an honorable mention of the European Commission’s S+T+ARTS 2020 Awards.
Since 2013, The Wrong Biennale has presented works by ten thousand artists and curators, exhibited in six hundred pavilions, embassies and institutions around the world.
A beacon of hope.
In an era defined by globalization, where technology has shrunk the world and cultures increasingly intermingle, The Wrong Biennale emerges once again, and for the sixth time, as a remarkable platform that transcends borders and serves as common ground for all cultures. This “exhibition of exhibitions” challenges the traditional boundaries of physical space, facilitating a global conversation that celebrates diversity, challenges preconceptions, and unites artists and art lovers from around the world.
The digital revolution.
The Wrong Biennale is the epitome of the digital age, harnessing the power of technology to bridge gaps and foster cultural exchange. Digital art has become a medium that transcends language and geography and offers a universal platform for creative expression.
As our lives become increasingly intertwined with digital platforms and screens, it is only logical that the art world will evolve to adapt to this new paradigm.
A global canvas.
“With millions of viewers, The Wrong could be the world's largest art biennale – the digital world's answer to Venice.” - The New York Times.
The Wrong, unlike its physical counterparts, erases the limitations of a specific geographic location. It is a global canvas where artists, regardless of their background, can showcase their work and connect with a global audience. Artists from diverse cultural backgrounds contribute their unique perspectives and interpretations of the world, enriching the global artistic dialogue.
Cultural Dialogue.
One of the most notable aspects of The Wrong is its ability to foster a cultural dialogue that transcends the boundaries of physical galleries and museums. It is a space where artists can engage in conversations with each other and with audiences from different parts of the world.
The Wrong curators for the sixth edition of its biennial are based in Sunderland, Tehran, Copenhagen, Frederiksberg, Køge, Helsingør, Valencia, Gol, London, New Orleans, Cambridge, Toruń, Brunswick, Toronto, Amsterdam, Bucharest, City of Mexico, Buenos Aires, Colonia, Milan, Brooklyn, São Paulo, Linz, Toluca, Bogotá, Berlin, 's-Hertogenbosch, Los Angeles, Paris, Yangon, Funchal, San José, Hangzhou, Amherst, New York, Tokyo, Vienna, Melbourne, Porto, Matosinhos, Leipzig, Graz, College Station, Montreal, Bangkok, Ljubljana, Edinburgh, Prague, Cincinnati, Da Lat, Moscow, Tel Aviv, Braunschweig, Stuttgart, Belluno, Findlay, Bangalore, North Bennington, Barcelona, Osaka and Maitino.
This international curatorship, as a whole somehow eclectic and at times unfathomable, addresses common human experiences and shared values, showing the challenges that we all face, regardless of our cultural origins.
Challenging stereotypes.
The Wrong challenges preconceptions and stereotypes associated with specific cultures. Artists have the freedom to express their unique voices without being confined by the limitations often imposed by geographic or cultural labels. It forces us to reevaluate our current understanding of reality, and highlights the richness and diversity of all cultures, while revealing the common threads that connect us all.
Accessibility and Inclusivity.
“The Wrong, an alternative but ambitious new path, is a concept that could prove key to the flourishing of arts and culture in post-pandemic times.” - S+T+ARTS 2o2o Jury.
Digital art, as displayed at The Wrong Biennale, is inherently more accessible and inclusive than traditional art forms. Anyone with an Internet connection, and just a click away, can explore digital galleries for free, removing barriers that may prevent some people from experiencing art in physical spaces. This inclusion invites a broader range of voices to join the conversation.
A common place for everyone.
In a world marked by cultural diversity, The Wrong has created an art biennial where all cultures can coexist and collaborate harmoniously. It is a celebration of our shared humanity and the diversity that makes our world so vibrant.
"The largest art biennial in the world" serves as a reminder that art transcends borders, languages and stereotypes, uniting us in the pursuit of creative expression and understanding.
More than two thousand artists and curators from around the world participate in the sixth edition of The Wrong Biennale, open from November 1, 2023 to March 1, 2024 at https://thewrong.org
Conclusion.
The Wrong Biennale is a beacon of hope in the world, demonstrating how technology and digital platforms can be leveraged to serve as a common place for all cultures. As it continues to grow and evolve, it offers a model for embracing diversity, challenging stereotypes and fostering a global dialogue that transcends borders. In this interconnected world, The Wrong Biennale shows the power of art to bring people together, reminding us of our shared humanity and the beauty of our differences.
A Beacon Of Hope is a sample article for The Wrong Biennale 2o23/24.
