Compound of Stolen Prompts as a Curatorial Statement.

In 2121 none of us are here presumably. Given this time frame people are encouraged to think long-term since there is little gain nor much retroactive effect with a time span longer than life. The frame can help us reflect on what we are now. This invitation is also addressed to robots and machines. Do androids dream of electric sheep? Do they dream in colour? What about the black box of artificial intelligence? For dreaming in the dark? Nothing we imagine is absolutely impossible. Where are our dreams headed now that AI is actively imagining things for us. Is it colouring the dreams for us? What can be done with a one second video concerning dreams and colours? With technology quickly advancing, and online platforms ever rising and falling, artists intrepidly navigate the boundaries of these virtual spaces, seeking to expand beyond them as they create new and exciting ways to experience art and the metaverse. As we spend more time in virtual worlds, it is crucial to be aware of their potential to isolate, distract, or distort our experiences. While screens and digital tools offer immense possibilities for connectivity and knowledge, we must also confront the limitations and biases embedded in the technology we interact with. A pocket hides what is inside until it can be performatively revealed. From the opacities of poetry and withheld language emerges this collection of folded, layered, improvised, imperfect and unexpected forms of address: mud dancing, whispers, shouts, laughter, screams and vocal sound making that resist the order of speech. Behold, the fusion of two disparate realms: the Cadavre Exquis, exquisite corpse game, very much like this text, and phygital art, where physical and digital intertwine seamlessly. Through the magical alchemy of technology, we shall intertwine the tactile strokes of brush and pen with the ethereal pixels of digital artistry in three collaborative games. A user-created digital world made of 3D drawable rooms. Think of it as a very poor metaverse: a world initially composed of empty white cubes, which come to existence only when artists start drawing. Artists grappling with the frantic forward-facing temporality of our contemporary reality through a sui generis lens. Functions as a much-needed exploratory sandbox. An exploration that recreates the uncanny experience of traversing the labyrinthine file system of your personal computer. Wander through corridors of memory, where echoes of déjà vu await behind every file and folder, luring for recollection yet never fully unveiling themselves. A word which is commonly used to express that it's about time to do something. And here it is a place where everyone is invited to try one’s indefinite ideas in front of an audience unofficially. Nothing has to be perfect nor completed. Into a realm where nature, technology, identity, and spirituality converge to create a mesmerizing tapestry of human experience. A testament to art's enduring power, the digital adventure experience engenders a celestial tapestry of collective vision, emboldening humanity to traverse the uncharted landscapes of creativity and techno-futuristic revelation. The boundaries of cake; is it an object or an event? When does a cake cease to be a cake? Can anything be transformed into a cake? What remains of a cake that no longer exists? Could cake be a verb; to cake or not-to-cake? Must a cake be realized, or can it exist simply as an idea? Best viewed on a smartphone or tablet. It’s not so much that we’ve lost the ability to dream, but that our dreams have become so alien that we do not recognize them as our own. Or that if those are our dreams, then we must be somewhere else than we thought we were. A city is more than a lifeless existence. Its essence is in togetherness. What are the relations and dynamics between cities and their inhabitants? How would you define togetherness in urban spaces? Explore the intersection of excessive maximalist nostalgia and the celebration of craftsmanship in the postdigital age. A multifaceted interpretation of what is widely perceived as antique and traditional, reviving the past and embracing the present, sparking essential conversations about the idealization of historical eras and their connection to our yearning for escapism. How should we imagine the unknown? How should we imagine new life possibilities beyond what was programmed and not just mirror domination policies? Art allows us to think of other ways of perceiving, treating bodies, human and non-human, and relating to things. Beauty filters, instantly changeable avatars, cyber tribalism, new forms of stereotypes, and simulations that obscure the flaws, limitations, imperfections, and mistakes of real human beings are all the outcomes of digital reductionism and techno-capitalism. Digital technologies were supposed to help us achieve a more egalitarian society and mobilize individuals through equal accessibility, freedom of expression, and new means of social communication and relationships. But the affordances of digital systems along with the emergence of techno-capitalism, fueled by neoliberal values and ideas, realized a radically different scenario. We are drawn to the water. Waterways and water places sustain life and have been gathering places since our most ancient times. Used and misused as dumping sites and places for waste removal and treatment, and their health is an indicator of the health of our environments. Address the retroactive effects of digital images and screen culture on the human self by exploring both the ontology of the digital and the idea that digital technologies mediate the world in such a way that our perception of the self, the world, and the environment forever changes. Explore the connection between art, culture and the online experience. Through the use of hyperlinks, the pavilions offer the public a free browsing experience, showcasing works and collections by emerging and mid-carrer artists that critically reflect the world. What am I, where am I, why am I choosing this unstable path of becoming an artist in these tumultuous times and why do I not feel like I am a fully mature person in the conventional sense? Does adult life exist at all? Or is it merely a social construct that can be transformed? In a world where multimedia often seeks to harmonize our senses, take a daring leap into the uncharted territories of sensory isolation. The journey begins with Schaeffer, whose theory led generations of people to think auditory experiences out of the sound origins. This very act of separation became an art form, an aesthetics of disentanglement that forms the cornerstone of our pavilion's concept. Explore the concept of becoming-machine through the lens of AI-generated and AI-assisted artworks. A showcase of the dynamic relationship between human creativity and machine intelligence, blurring the boundaries between the human and the machine. How do we leave significant, tangible traces in a world that is engineered for timed disappearances and constant erasures of genealogies? Radical investigations into the relations between human and non-human aspects are needed for a critical outlook on modern experiences. A spatial utopia – a non-place created from the maintained ruins of a deconsecrated 13th century church, a sacred space made secular, translated as a digital space transcending both the sacred and secularity of the physical. Exploring place as the empty shell or container of history while simultaneously exploiting and envisioning its potentialities is a key function of imagining Utopia, and Poetry the art of the word, but it can also be the art of human restlessness before the limits of language. It is expected that poets seek to extrapolate the conventional domains of verbal dynamics. One of the ways to do this is to approach other languages, such as graphic arts, performance, photography, video to reach new frontiers, mixing grammars. And as the restlessness is not exclusive to poetry, it is also expected that artists from other languages approach the art of the word to expand its domains. Is net art still alive? Is there creation outside the controlled domains of big tech companies? As long as there is the Internet, and even though its end is already announced, there will still be artists honoring the spirit of the pioneering creators of art for and through the World Wide Web. Aspire to situate and question a multiplicity of cosmotechnics shaped by a sequence of cosmological propositions, alternating between planetary and terrestrial, ecological and technological, magical and decolonial. The flowing energy of digital images travels through paths that are often occult behind the surfaces of luminous screens. Based on a poetic understanding of the biological process of photosynthesis, in which the Sun's luminous energy is transformed into vital energy, it raises a question: what does sunlight consist of, captured as an image, synthesized in digits and re-presented through artificial light? Technology has made us procedural beings. Identity as we knew it, handed down by our family and our geographical communities as gathering spaces, is now only an infinitesimal part of who we really are. Through the digital medium, we discover, explore, and learn about new realities happening thousands of kilometres away that, nonetheless, are making us feel at home. These spaces allow us to be who we really are, who we really believe to be, and give us a reason to continue our journey in a world that often feels on the brink of collapse. How can we integrate technology so as to go beyond disciplines, beliefs and species? How can we use ourselves as a modular blueprint to become these spaces that make people feel like they belong? It is time for us to dig deeper and become servers of flesh, where sentience, technology, and individual knowledge gather into an experimentation for a better future. The mystique of time, otherwise known as the 4th dimension. Time is an unceasing force that propels us forward while remaining an inescapable constant. Time's intricate relationship with consciousness, from its boundless youth to its accelerating pace with age, poses the profound question of eternal existence. The creation, critique and exhibition of mixed and hybrid realities and locative media. The art of maintenance. There are no artworks, products, but chores, questions assembled to unravel the difference between maintenance, pedagogy, and artistic work. The art of maintenance unites cleaning and care processes, as well as the domestic and non-productive dimensions of life with artistic practices. Maintenance challenges art not from the production of the work, but from its development, sharing and erasure of the art-everyday life border. This is one of the many aspects that the easy access to the internet can offer. A continuous interlude. An infinite break from work, worries, from life happening AFK or away from the keyboard. It can instigate a fond feeling and at the same time, a melancholic anxiety of the present, a loopable experience of pauses. Trust takes all kinds of forms. Trust is everywhere. We all have tools to embark our trust in our personal niche. Curators, artworks and artists were selected in an open call process, combined with a pre-selection of artistic positions. Not the background of the artists, but the discourse of trust in the individual works decided upon their inclusion. See the collision of myth and reality, the fusion of art and everyday life. By devoting to his art, the artist initiates many transformations and consistently changes himself, the space around him, street culture and the world around him. We see how art meets the ordinary and conquers it. Why is the bedroom overly exposed on the internet? How has the domestic space become a monetizable resource through digital cultures and surveillance capitalism? To put it differently, what does intimacy really mean today? Sharing and commenting on the personal space, this exhibition takes place in the curator’s bedroom. It shows works that question the mediation of the domestic space on the internet from various points of view and various social, cultural and political perspectives. Since cave paintings, the earliest documentations of art by humans, animals have never left human's artworks. Whether they are depicted in pigments from mineral stones or binary data, the renderings of the animals are shaped by the latest technologies by humans and the environments we are in. In a phenomenological sense, animals for humans are never animals per se; they are partially man-made, as an externalized version of psychological and philosophical self, or as the other, something alien and unfathomable, or, most likely, both. It's sabotage friendly, it's haunted and so familiar. In this we find the idea of the entire exhibition: a familiar place, home, to be messed up to our liking, crash it, free to act as no one is at home. A mysterious phenomena, yet to be fully understood by science. Described by astrophysics and mathematical formulas, they are regions of space-time from which nothing can escape. The first visualisation has been presented in 2o19. In 2o22 the experts estimated there are at least 4o billion black holes in the known universe. Is human mind capable of grasping the true nature of a cosmic entity from which neither light nor information can escape? Kres is the slovenian word for bonfire, and is probably derived from the same etymological root as the name Kresnik, a slavic god associated with fire, the summer solstice, and storms. The bonfire is assembled and lit during the times of year of particular cosmic significance, when the revelers dancing around the fire can catch a glimpse of what lies beyond the border between the mundane and the otherworldly. The otherworldly, however, doesn’t manifest itself to them in some spectacular or majestic form, but as a shadowy grotesque, in which what used to be concealed mostly hidden along the edges of the art and design scene comes into light. A visual and auditory narrative to break stereotypes and popular narratives, opening the way to a more complex and rich understanding of globalized world identity. Math-based problems seem a nightmare for the humanitarians. Each time one tries to force a process where a simple calculation needs to be used, a humanitarian will roll up their eyes to avoid answering. However, brainteasers and equations are no strangers to artists. Complicated imagery and visual puzzles may be even more challenging than a set of numbers with their pure logic and stability. Explore the mythologies and fictions of the Midwest, that region of the United States that is hard to define geographically or culturally. Does the Midwest exist or is it a hazy ruralish post-industrial landscape that one can catch a glimpse of through the window of a car while speeding on a never-ending interstate? Through a collection of works by artists living somewhere in the Middle of the United States the show questions our collective and individual assumptions about that mysterious part of the world. Welcome to a brief novel of the exploration of a niche, extra-institutional, weird and anonymous art that is abundantly present but unfairly under-spoken. As AI has emerged in the visual art space, much of the outputs reflect a surrealist approach to photography which has been captivating and perplexing for many. An alternative stylistic expression that leans more on painting and less on photographic artifacts. Using AI tools as the beginning and end of their process but some of the work also incorporates the artists’s own markmaking alongside the output from these algorithmic tools. Explore affective intensities, and regimes of digital aesthetics from poor images to file mobility. Challenge a spatial dimension of a traditional digital exhibition, incorporating temporal perspective by distributing some artworks via subscription-type services, to unfold around the idea of art acting as a system of distribution services. How art itself can incorporate the logics of services: can AI be repurposed to fight disinformation? Can soundart be presented in the framework of psychotherapy? Can Instagram become a platform to confront the binarity of contemporary visual politics? A space of  contemplation on the coexistence of humanity in the collective unconscious, where external fears create a sense of an inescapable space. Explore the theme of the inner prison that individuals place themselves in and subsequently seek to find an exit from, a concept widely depicted from mythology to contemporary art. The trickster, perhaps the quintessential hero of humanity, aids in overcoming absurd situations through humor and sarcasm. Address the construction and perception of the contemporary world around virtual landscaping and the ritual dimension that occurs in the middle ground between rural and digital practices. A place where the implicitly strange and unusual emerge within the familiarity of social media interfaces, and where new chapters are constantly being written. A fresh chapter to twist the plot where a new thread emerges and where digital art and homemade memes reign supreme, a realm where the imagination bounds beyond what it knows. Amidst the chaos of devolution and destruction, evolution offers a glimmer of hope. From a seething sludge of digital debris and depleted fossil fuels, the zombie corpses of unminted nft’s rise shedding oily droplets of virtual decay. Included works that began as digital files forgotten in the labyrinths of obsolete servers and subjected to the high pressures of networked hypermodernity, and now rise to take their revenge against a world drowning in media disinformation. They are fossils of software fragments, glitch-processed video, mutated 3D polygons, and keening audio tracks. Their file names glow with curatorial themes of decay and transformation, preservation and decomposition. It’s art for an anthropocene acutely aware of the cyclical nature of its own consumption and mortality. Capturing screenshots on our devices has never been easier. All it takes is the click of a button or a keyboard shortcut, and we can save whatever we are seeing. This can often lead to a form of digital hoarding, where we are compelled to collect everything we find fleetingly interesting, even as we do not always know what we will use it for later. The drive to capture and save mirrors the imperatives and mechanisms of surveillance capitalism, where data and information is constantly harvested by powerful interests, often unwittingly, from those using digital systems. Coin a new art-historical term to describe fine artists using digital technology to convey subjective, emotional content, distinguishing expressive fine art from such genres as “digital art,” which can include animated movies, and video games, as well as  from “new media” works that do not embody convincing artistic intent. How to elaborate and collaborate in a state where the loss of information is caused by the transmission of information itself? How to deal with the complex mediatic and technologic apparatus that surrounds us, from social media platforms to the cruel stack of privatized and unmanageable infrastructures? How to navigate the era of post post-truth, deep fakes and the alien weirdness of digital language and visual codes? Look at the present, future and past of online communication. The era of social platforms and hyper-sharing in which images and memes were used to communicate precise and hyper-complex feelings from chat to chat, platform to platform, until colors and information were lost through compression. Beneath the surface of this seemingly innocuous digital landscape lies a complex relationship with the military-industrial complex, one that often remains obscured. Reimagine the digital space as a realm for art, expression, and connection, rather than a battleground for militarization. Feeding an artificial intelligence with the work of the participating artists to obtain a recombination of its visual elements, exploring the possibility to expand creativity, instead of replacing it. And to reflect on the new ways of image alchemy by digital means. Presents quartets of video performances drawn from a family tree of influence—each video track was recorded while responding to other video performances in the same lineage. Reflecting on social isolation as well as a need for reliable advice in the face of uncertainty, the mix brings together musicians, performance artists, dancers, spoken-word performers, and visual artists, each responding to improvisational prompts delivered in the form of an oracle deck reading, similar to tarot card reading, using a custom deck of cards created specifically. It is an encounter with transformation as metamorphosis from the digital sphere, where different visions of each of the different selected artists are exhibited, presenting different metamorphoses of digital languages in the form of visualisation, always seeking in their development the formal connection between art and technology. From questions about self-colonization, nostalgia and commodity fetishism, second generation or mixed migrant identity, to even the emergence of established virtual communities - the recurring element is the self-gaze, always both critical and supportive, both emmancipatory and reflecting, highly personal while still socially aware. What is the essence of queer art today? How do we represent queerness in the current age? And importantly, how can the realm of digital art draw upon and amplify the enduring spirit of public protest? Glimpse into what contemporary queer art and activism can look like in today's world, where crises and uncertainty shape our daily lives. Explore the complex interplay between our physical and digital identities. Through the perspectives of diverse young international artists, navigate the blurred boundaries between tangible reality and the expansive digital realm. From questioning the essence of our presence in the virtual world to crafting narratives of yearning for connection and validation, each artist brings a unique facet to this existential journey. Confront the mirrors reflecting our hybrid identities, provoking contemplation on self-discovery and transformation in this intricate digital age. Explore the wide variety of applications and diverse usage of digital media tools. Encourage the artist to lose oneself, to be crazy in an inspired manner. Link artists accustomed to making objects for physical exhibitions with artists who create on and for internet. A powerful convergence of art, technology, and human imagination. It challenges the traditional confines of artistic expression and beckons viewers to embark on a journey of exploration, self-discovery, and unknown spatial introspections. Navigate through this immersive exhibition and be transported to alternate realities, where the borders of perception are porous, and new navigations, realizations, and understandings emerge. In the realm of sacred geometry, where the intricate patterns of existence unfold, there exists a profound interplay between glitch and evolutionary systems. Within this enigmatic domain, chaos intertwines with the ever-unfolding sacred geometry, persisting along its fractal path. Within this curated space, embark on a journey to explore the semantic and aesthetic dimensions of collapse, discontinuity, and destruction within the framework of sacred geometry. Delve into the depths of sacred forms and their inherent glitches, unveiling a captivating tapestry of visual and conceptual revelations. Paired with international artists perspectives working with archives, collections, or works questioning the status quo of open knowledge through creative expression. Revisit the technological developments and social implications and where are we standing today. Explore the notion of scale and effort necessary to perceive it in the digital context. To experience it in its entirety, one will have to dedicate oneself to rearranging their physical surroundings and subdue to time restraints both accelerating and delaying the process. Become an exhibition in a more traditional sense, rather than just an online display of artworks, will work against the freedom of movement and short-span experiences we have learned to associate with and expect from the digital realm. Accessible on any device that can open a web browser. An extensive virtual world presents a new approach to music engagement and consumption, inviting users to explore a digital environment while encountering unique music tracks and connected narratives. The work is ongoing and ever-expanding as new music and exhibits are "opened," reflecting the Internet's insatiable appetite for new content and visual excitement. Venture beyond the constraints of physical reality into the unknown, anathema-driven spaces of techno-alchemic practice. The exploration of these spaces, full of potential for new artistic creation, propels the audience into an era of art marked by boundless potentiality. Explore how we formulate our identities individually and communally. We experience many versions of ourselves over the course of a lifetime, changing so gradually that we don’t even notice. How do we reconcile past and future selves, people we might have been, or the multitude of people we currently are online and irl?  How does the cultivation of public persona, alter-ego, secret identity or anonymity influence how we come to understand ourselves? Maybe to believe in a real, true, or authentic self disregards the creative and inherently performative nature of self presentation. Delve into and beyond the boundaries of the body, immersing itself in the constant ever-shifting dynamics of inexistence. Aim to transcend conventional notions of the body as a biological entity, in the direction of illuminating its nature as a dynamic structure – a living organism floating and acting within the multi-dimensional flux. Unfold the body's narrative as a network within the personal, social, and global fabric, a structure that seamlessly transcends into the virtual realm, shifting boundaries and reshaping the concept of individuality. The body becomes a flexible, porous membrane, evolving while retaining its core unity, embodying both singularity and multiplicity, and dancing within the infinite multiverse. Our transition into the Metaverse is inevitable; it is already unfolding in our midst. We are gradually immersing ourselves in it, both in parts and as a whole. The Metaverse has numerous definitions, yet it simultaneously defies any single one. It's a world on the brink, a profound intertwining and intermingling—the intersection of the human body, avatars, digital spaces, and physical devices facilitating access to it. Random videos, moving images of artist through media, in a multidisciplinary video dialogue in multiple physical spaces and online. The primary channel for communication in many aspects of our contemporary reality is the flatscreen computer monitor; however, our perceptions of this technology are often altered by illusions of space that betray the conditions of its surface. At the two-dimensional level, scrolling and hyperlinking operate as methods of expanding the spatial boundaries of the screen into a dense, multidimensional experience. Expand the space of the computer screen without attempting to erase our awareness of it. The path could be personal, geographical, metaphorical, historical, ethical. How might a path counter apathy? What does following a path do differently from blazing a trail - can we do both? How do we navigate the twists and turns, and what happens when we stray from the trail? How might we follow the process, the journey? Encourage creative ways of, and musings on, path following. Explore humour as an artistic tool for rebellion and resistance. Irony, comedy, jokes have been used through time to influence political opinions and weaponize laughter. A series of pieces made with AI, in order to inquire about certain hegemonic narratives linked not only with the artistic canon but with our worldview. Using different raw materials as a source of inspiration the corpus gathers collage, digital and analogue photography, video, illustration and sounds. An innovative digital journey that breaks free from traditional expressions and invites you not only to write poetry but to become poetry. The depths with the language machine, seeking answers: what holds greater relevance in contemporary linguistic art? Is it the text as the essence that forms the foundation of poetry, or is it the beauty of textual form, akin to a code that shapes the perfect poetic structure? Video art shorts, some reminiscent of the last century, others working with contemporary art and mostly unpeopled sights, all interplaying with original experimental, improvised music and sounds. Without making use of the more abstracted, separatist and bored apology of feminism, as a mere and sterile propaganda tool reborn from late post-capitalism, and focusing on the real opening, without conditions and with a broad awareness of the current gender and the paradigm of identity, arisen from the opportunity in the new means of communication and expression. A space for contact, improvisation, for chanting sounds, visual and sound imaginations, landscapes, atmospheres, fragments, vignettes, cross borders lines to imaginations of what is considered imaginable possible so far. Propaganda, corruption, deep fakes, and deception, as a mobile-only. From simulation of David Beckham to investigations of Morrison shelters; the artists’ research covers a broad scope of issues relating to conspiracy, mimicry and identity. An interplay between art and place fosters a dynamic exchange of ideas in an exhibition space with the character of an encounter. A hybrid of digital exhibition & social space in which artists show their works and people present their places in and at which art is to be shown. Everything blue is a link. Welcome to TheWrong 2o23/24.


Compound Of Stolen Prompts As A Curatorial Statement is an extensive bundle of continuous prompts providing a feeling of what TheWrong Biennale 2o23/24 is about. Selected texts extracted from curators statements, imitating the outcome of a clunky artificial intelligence tool, made for machines to learn. 

Note: This is not an informative text, but an abstract set of poetic instructions to react to.  

Featuring The Wrong Biennale 2o23/24 curatorial prompts and excerpts by Alex Fallica, Alex Killgore, Alexander K, Alexandra Adelina Huta, Alexandra Orlova, Alfredo Arévalo Rodríguez, Amy Kan, Andreas Zingerle, Andres Jacome, Andres Manniste, Anna Sodaz, Anna Utopia Giordano, Anya Shilonos, Arash Akbari, Arti Struyanskiy, Aurelian Busuioc, BBMC, Bardakos Ioannis, Beatriz Albuquerque, Camila Jordan, Cansu Peker, Caroline Turner-Anderson, Catalina Vallejos, Céline Wouters, Colin Goldberg, Connor Trotter, Copper Giloth, Daniel Alexandru Florea, David Barbu, David Moscovich, David Quiles Guilló, Diego Ortega, Don Hanson, Dong Zhou, Dorijan Šiško & Sara Bezovšek, Dorothea Petcu, Ebba Jahn, Elaine Tedesco, Elisabeth Blair, Emma Silvana Tripaldi, Erik A, Fabio Fon, Farkas Hánnelore, Farzaneh Nouri, Faustine de Bock, Fiona Larkin, Gabriela Correia, Gabriela Mateescu. Taietzel Ticalos, Gabriele Donini, Garrett Laroy Johnson, Gecse Bettina, Giacomo Scandolara, Giulia Bini, Guillermo Moreno Mirallas, Hernando Urrutia, Hodas Paula, Holly-Anne Buck aka Collagism, Hortência Sant'Ana, Ian Anderson, Ian Breidenbach, Isil Ezgi Celik, Jacek Sosnowski, Jacob Leveton, James Hutchinson, Jeff Morris, Jenna deBoisblanc, Jenny Vogel, Jo Blin, Jonathan Sachse Mikkelsen, Jonathan Weston, Jorge Sellés, Joyce Yahouda, João Vrc, Juan Echeverria, Junjan Oana Maria, Junkai Chen, Khristina Ots, Kyishwin Soe, Lana Martires, Laura Focarazzo, Laurent Bouchard, Lesia Kvitka, Lineadeluz, Lisa Cianci, Lola Belecciu, Luciana Tamas, Luciana de Paula Santos, Lívia Nolasco-Rózsás, Manuel Rossner, Maria Kuzmina, Marie Chaumont, Mariko Hori, Marina Polidoro, Mark Ramos, MarkleSparkles, Marsha Berry, Martina Pizzigoni, Maru López García, Matteo Campulla, Matthis Grunsky, Mattia Salamida, Mauricio Patrón Rivera, Mike White, Minimoto, Mohammad Ali Famori, Nabil Yanai, Nicole Kouts, Nomi Abeliovich, Olga Kai, Olyas Dreams, Ortensio Lando, Pablo Galbusera, Peter Adams, Phillip Thurtle, Phoo Myat Thwe, Pierre Chaumont, Pietro Parisi, Pop Szabrina, Radosław Osiński, Radu-Mihai Tănasă, Ramin Saeidian, Ricardo Bodini, Rita Caterpillar, Ro Ferrarezi, Roman Solodkov, Ronnie Karfiol, Roopa Vasudevan, SXSY Collective, Sammie Veeler, Seth & Jean D.Sikiaridis, Shusaku Kaji, Silvia Dal Dosso, Sofia Talanti, Someone Ada, Sophia Lamzina, Sophie Nowakowska, Soraya Braz, Stefan Schutt, Stefano Redaelli, Stella Olivier, Tam Nguyen, Tamara Tanatarova, Tasneem Lohani, Tassia Mila, Thomas Osorio and Loraine Wible, Tiina Burton, Tyler Kline, Vastag Diana Regina, Veronica Laminarca, Vesper Guo, Victoria Hilsberg, Vincent Duché, Virreina Space, Walker Tufts, Will Halcomb, Yaku Runa Simi, Yan Shao, Zarli Htet,  Rodolfo Mata, Ács Muhi Klara.

Compound Of Stolen Prompts As A Curatorial Statement.

Another weird text by David Quiles Guilló, written for The Wrong Biennale 2o23/24.


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