The Wrong Biennale

Next edition

2o27/28

1 November 2o27 - 31 March 2o28
Applications until 15 January 2o27

The global biennial for digital art and culture

Described as the digital world’s answer to Venice, The Wrong is a decentralized constellation of art, people and ideas; accessible, experimental and unpredictable

Independent and open by design, it connects artists, curators, institutions and audiences through pavilions; online projects, screenings and events worldwide

Since 2o13, more than 14,000 artists and curators have participated across 1,000+ pavilions, embassies and institutions, creating unexpected connections and new ways of experiencing art

The Wrong has received an honorary mention by the European Commission's S+T+ARTS initiative and a member of the IBA - International Biennial Association

Reviews

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.

A system that dreams of itself

Refresh

The Wrong offers more than a biennale. It offers a model for a post-object, post-author art world. It suggests that the most vital contemporary practice in the age of AI is not the creation of new images but the design of new systems of relation.

The event is a quiet manifesto arguing that art is no longer something to be looked at but a process to be logged into, a network whose very architecture is the most eloquent critique of the technology it explores.

El pulso acelerado del presente

Neo2

En un momento en el que nuestras interacciones están mediadas por algoritmos que deciden qué debemos ver, The Wrong Biennale se levanta como un manifiesto de libertad, una constelación descentralizada donde el código, la comunidad y la creatividad se fusionan sin jerarquías ni fronteras.

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.