The Wrong Biennale “is an independent, multicultural, decentralised and collaborative international art biennial”, with a strong digital base, founded by Spaniard David Quiles Guilló in 2013, long before the pandemic forced us home and the NFT-related frenzy and speculation put digital art in the spotlight. The event is now celebrating its sixth edition.
The digital biennial unfolds through Virtual Pavilions and Embassies in the physical world, complemented by numerous online and live events around the world. These initiatives are the result of the efforts of local curators and artists, with the support of The Wrong Studio. If the 2018 edition was celebrated by the New York Times as “the digital world’s answer to Venice”, hosting artists and curators such as Elisa Giardina Papa, Marisa Olson, Lorna Mills, Kamilia Kard, El Popo Sagre, Systaime, and Patrick Lichty, today, in the wake of the NFT Craze, we encounter a necessarily diverse landscape with projects delving into the Web3 and metaverse discourse, such as “Homo Metaversus: The Transition” or “Superinternet World”. There are also transmedia and nostalgic initiatives that hark back to the post-Internet and Net Art era, such as “Post Animals”, “Covid 1984”, and the explicitly titled “Net Art Died But Is Doing Well”.