The Wrong (Again), the largest and most comprehensive digital art biennale

The Wrong is exhibiting contemporary creation in all its diversity over a period of three months during the second event of its kind. This internationally ambitious biennial, in terms of scope, focuses on digital arts and aims to propose as many events as possible online. From the start of November 2015 until 31 January 2016, world-class digital can be found at Insight to a unique event that is accessible to everyone, at anytime, repositioning ‘art and technology’ disciplines in their original context: the Internet and its democratic utopia.


Digital art is wide-ranging. Artistic practices relying on digital technology are, as we know, extremely diverse and varied and found absolutely everywhere these days. However, paradoxically they are absent from the art market, or almost, and rarely represented in ‘contemporary’ art biennials. This perhaps results from some confusion. As after all, how can digital as such categorise a particular artistic practice? If we claim that the name ‘digital arts’ only includes artistic disciplines referring to the ‘digital language’ (Net Art, Augmented Reality, Virtual Reality, Code Art, Data Art, etc.), we fail to address a multiplicity of domains that are just as creative, also calling upon new technology (broadly speaking, all performing arts, theatre, dance, circus). This wealth, this multidisciplinarity of subjects and disciplines makes it difficult to organise a major event intended to represent contemporary digital ‘creativity.’ David Quiles Guilló, initiator of The Wrong overcame this hiatus by democratizing access to art in general and by presenting it on the digital media of our time: the Internet. All forms of art, not just ‘digital,’ are accessible on line in ‘just a click.’

The Wrong (again) from David Quiles Guilló 

The Wrong: ‘democratizing’ access to arts

Based on this, and in connection with the multiplicity of current artistic practices, The Wrong (Again), judiciously dubbing itself ‘A New Digital Art Biennale,’ presents no less than 1,000 artists, 90 exhibition curators and about sixty themes. A mammoth task welcomed by its initiator David Quiles Guilló, founder of ROJO (Rojoproject, Rojomagazine), well-versed himself in many multidisciplinary artistic practices, his CV boasts musician, video artist, digital artist, writer, speaker, editor, teacher, ‘creative consultant,’ etc.


However, and to open up to the widest possible audience, The Wrong (Again) is also available in ‘reality,’ ‘away from the desk,’ with exhibitions, Labs and one-off workshops, as well as gatherings all over the world. Amongst those there are sixty pavilions also called ‘embassies’: spanning  the planet and all the themes explored by today’s artists. Amongst them, many subjects naturally tackle the relationships artists have with new media: questioning; critical approaches; uses, linked to the technology that has pervaded our societies. In fact, if The Wrong is not strictly speaking a ‘digital arts’ oriented festival, it is no less sensitive to the different movements emerging in this domain. The concerns of contemporary artists are very often part of a social, political, aesthetical or technological critical approach, therefore The Wrong could not ignore all the approaches and questions that contribute to the wealth of digital creation.

Multi-faceted digital art

Many pavilions are inspired by the key themes of the different digital art trends. On the ‘coding’ side for example, there is Code Nebula by curator Enrique Salmoiraghi, who explores the connection between artistic practice and computer programming, featuring artists using the language of programming in their creative process. Ctrl alt del  (curator Joseph Flynn) examines the relationships artists have with technology and the Internet. Not Found, A Broken Net Art Exhibition (Curators Cesar Escudero Andaluz vs Mario Santamaría) explores the roots of today’s digital art, Net Art, and closely related to this theme Internet Art Gallery  (Curators Amy Smith, Unmaru Un & Soo Hye Baik) takes a nostalgic look at digital art in the 90s. A New Social Contract (curator Elena Giulia Abbiatici) questions our society at the time of digital divide, a world where everyone accesses technology in different ways. (Curator Morehshin Allahyari) explores the relationship between the Internet and poetry. As indicated by its title, Interface Change Cultures  (Curator Cesar Escudero Andaluz) presents interfaces like a cultural or symbolic element, a means of translating machine language into human language. Another pavilion with a title that speaks for itself (in)Exactitude in Science (curator Filippo Lorenzin & Kamilia Kard) addresses Data Art, or ‘art in the Big Data era,’ its disturbing accuracy and touching approximations. There is also The New Flesh, or, ‘How to portray yourself in the Internet cyberspace?’


Cyberspace as a political and democratic space

It is evident that The Wrong equips itself with the resources to match its ambitions revealing its determination to cover all the ‘hot’ topics that drive digital creation. Giving preference to reappraisal, remoteness and criticism, The Wrong proposes a deliberately political, or even social approach. Actually, the choice of a predominantly ‘virtual’ biennial, in addition to easy access for people lacking the means to purchase a plane tickets for…Venice or Paris, can also be attributed to the determination of its founder David Quiles Guilló, to favour cultural exchanges, blending and sharing knowledge and experiences in one huge global biennial.’ This would certainly have been virtually impossible in a single geographical location. Inspired by the precepts of the open Internet in the beginning, The Wrong restores the ‘cyber’ utopia from the start of the Internet, offering anyone interested the option to navigate freely on the biennial’s multiples sites and take note of contemporary creation in all its diversity. 

Maxence Grugier

The Wrong (again)
From 1st of november 2015 to 31 of january 2016

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