Time present and time past / Are both perhaps present in time future, / And time future contained in time past” – T.S. Eliot
Time, as it were, thickens, takes on flesh, becomes artistically visible; likewise, space becomes charged and responsive to the movements of time, plot, and history. This intersection of axes and fusion of indicators characterizes the artistic chronotope” – Mikhail Bakhtin
Nothing passes without leaving a trace. All foregone will be accounted for. What comes to light is only what was hidden inside” – A.A. Ukhtomsky
In pale moonlight/ the wisteria’s scent / comes from far away” – Yosa Buson
Moons, Castles, Trees welcomed both AI art and art about AI: image, photography, poetry, collage, code, painting, sculpture, glitch, ekphrasis, text, and hybrid analog-digital works.
Artists of all kinds: writers, poets, painters, photographers, calligraphers, illustrators, sculptors, printmakers, generative artists, and graffiti artists were invited to participate in the open call.
About The Wrong Biennale?
Counting its viewership in the millions, The Wrong just might be the world’s largest art biennale – the digital world’s answer to Venice.”
– The New York Times
The Wrong Biennale is a global art event that generates and showcases art across virtual, physical, and hybrid platforms.
Since its first edition in 2013, it has presented the work of over 10,000 artists through more than 800 curated digital and physical exhibitions worldwide.
The 7th edition titled “The Wrong Returns” features work by 16oo+ artists, selected by 18o+ curators, showcased in 1oo+ pavilions and embassies (physical exhibitions) in London, Trondheim, Mexico City, Münster, Porto, Matosinhos, Sunderland, Valencia, Budapest, Moscow, Harwich, Plymouth, Glasgow, Aberdeen, Caracas, São Paulo, Toronto.
Selected artists for Moons, Castles, Trees | AI Chronotopes
The following eight artists were selected from more than 800 submissions to take part in the exhibition:
Curator
To mark its place in digital history, the open call has been permanently and immutably inscribed on the Bitcoin blockchain, digital canvas, if you will, as ordinal 108650280.
The inscription also serves as a time-space stamp for what could be considered the final exhibition text.
I know myself well enough to recognize that changes will inevitably follow; it will be difficult to resist the urge to append paratexts to the various sections in the future.
“To write is to produce a mark that will constitute a kind of machine that is productive in the absence of the subject”, Derrida in ‘Signature, Event, Context’.
FAQ: Moons, Castles, Trees Open Call
Why participate?
- Visibility: Show work to a wide international audience
- Ideas: The theme and materials may inspire new work
- Collaboration: Connect with future partners
- Critique: Engage freely, bypassing traditional art world gatekeepers
- Inspiration: Remix shared image/text packs in unexpected ways
Is there a fee?
No. Participation is free, with no hidden or future costs.
Who can submit?
This call is open to everyone, regardless of nationality, age, background, or experience. Groups may also submit
What formats can I submit?
Still images only. No video or animation. You may submit 1 to 6 images. Texts are welcome too, even encouraged, as long as they’re submitted as image files (for example poems saved as JPEGs).
Do I need an artist bio and image description?
Yes. Include a short bio (max 50 words) and a short description for each submitted image (max 50 words).
What about rights and usage?
You retain full copyright. By submitting, you grant a non-exclusive license to ai.chronotopes.net to display and promote your work for up to 5 years. All other rights remain yours.
Do I have to use AI?
No, using AI is not a requirement. While the curatorial theme invites exploration of artificial intelligence, the open call welcomes a wide range of artists, including writers, poets, painters, photographers, sculptors, and more. Artists are encouraged to interpret the theme, and while submissions may include AI-generated text or imagery, doing so is optional.
Can I submit photography-based work?
Yes, all forms of photography-based work are welcome. This includes film, analog, experimental, hybrid processes, darkroom techniques, and hand-altered prints. Although the theme invites engagement with artificial intelligence, it is not a requirement for your work.
What happens if my work is accepted for the exhibition?
If your work is selected, you will be notified by email no later than October 25th 2025.
Each accepted artist will have a dedicated presentation page on chronotopes.net featuring a short biography and accompanying texts for each of their images, which will be displayed for the duration of the exhibition.
When does the exhibition take place?
November 1st 2025 to March 31st 2026.
About the curator
Kasper Bergholt is a Copenhagen-based photographer and artist who returned to visual art in 2023 after a 15-year hiatus. His work has appeared in exhibitions and collaborations in Melbourne, London, New York City, Atlanta, Helsinki, Budapest, Warsaw, Minneapolis, Chongqing, Taipei, and Glasgow. He holds a Master of Arts from the University of Copenhagen.
What is the Chronotopes Image Pack?
A collection of 10 glitchy, layered images (140MB .zip) available for free use in this and other Wrong Biennale exhibitions. Remixes are encouraged.
What about the Chronotopes Text Pack?
There’s no formal pack, but you may freely use and remix the semi-curatorial text ‘The Art of Artificiality’.
What does ‘Moons, Castles’, ‘Trees’ refer to?
The words ‘moons’, ‘castles’, and ‘trees’ refer to three verses from “Cinnamon Horses” by Nick Cave, featured on the 2024 album “Wild God”.
I told my friends that life was sweet
I told my friends that life was very sweet
And the cinnamon horses
In the turpentine trees
I told my friends some things were good
That love would endure if it could
And the cinnamon horses
Stroll through the castle ruins
I said we can love someone
Without hurting someone
And a dozen white vampires
Under a strawberry moon
The song and its lyrics made a deep impression on me in 2024, leading to a textual analysis that eventually inspired this open call. In developing it, I decided to soften the thematic framing to allow greater interpretive freedom.
What are chronotopes?
The term ‘chronotope’ consisting of Greek χρόνος (‘time’) and τόπος (‘place’ or ‘space’) was coined by Russian literary theorist Mikhail Bakhtin in 1937, shortly before World War II.
“Art & literature are shot through with chronotopic values of varying degree and scope. Each motif, each separate aspect of artistic work bears value” — ‘Forms of Time and Chronotope in the novel’, Mikhail Bakhtin.
Bakhtin in turn was influenced by the work of Alexei Ukhtomsky, whose lecture on the chronotope in biology, he attended in 1925.
Ukhtomsky’s work on the dominant involves time and space in perception, as neural responses to stimuli (for instance light) persist and shape future responses, creating temporal traces.