{"id":1,"date":"2026-03-07T08:00:03","date_gmt":"2026-03-07T08:00:03","guid":{"rendered":"https:\/\/chronotopes.net\/?p=1"},"modified":"2026-04-22T17:41:26","modified_gmt":"2026-04-22T17:41:26","slug":"open-call","status":"publish","type":"post","link":"https:\/\/chronotopes.net\/open-call","title":{"rendered":"Moons, Castles, Trees | The Wrong Biennale | AI Chronotopes | Copenhagen"},"content":{"rendered":"

Time present and time past \/ Are both perhaps present in time future, \/ And time future contained in time past”<\/em> – T.S. Eliot<\/p><\/blockquote>\n

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”<\/em> – Mikhail Bakhtin<\/em><\/p><\/blockquote>\n

Nothing passes without leaving a trace. All foregone will be accounted for. What comes to light is only what was hidden inside” – <\/em>A.A. Ukhtomsky<\/p><\/blockquote>\n

In pale moonlight\/ the wisteria’s scent \/ comes from far away”<\/em> – Yosa Buson<\/p><\/blockquote>\n

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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.<\/p>\n

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.<\/p>\n

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\"Moons,<\/h3>\n
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About The Wrong Biennale?<\/em><\/h3>\n

Counting its viewership in the millions, The Wrong just might be the world’s largest art biennale – the digital world’s answer to Venice.<\/em>\u201d
\n– The New York Times<\/em><\/cite><\/p>\n

The Wrong Biennale<\/em>\u00a0is a global art event that generates and showcases art across virtual, physical, and hybrid platforms.<\/p>\n

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.<\/p>\n

The 7th edition titled \u201cThe Wrong Returns\u201d features work by 1600+ artists, selected by 180+ curators, showcased in 1oo+ pavilions and embassies (physical exhibitions) in London, Trondheim, Mexico City, M\u00fcnster, Porto, Matosinhos, Sunderland, Valencia, Budapest, Moscow, Harwich, Plymouth, Glasgow, Aberdeen, Caracas, S\u00e3o Paulo, Toronto.<\/p>\n

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Selected artists for Moons, Castles, Trees | AI Chronotopes<\/h3>\n

The following eight artists were selected from more than 800 submissions to take part in the exhibition:<\/p>\n

Alexander Limarev<\/em><\/a><\/p>\n

Baokang Zhao<\/em><\/a><\/p>\n

Chaeyeon Kang<\/em><\/a><\/p>\n

Jack Tuttle Snell-Ryan<\/em><\/a><\/p>\n

Javier Aparicio Frago<\/em><\/a><\/p>\n

Joseph Farbrook<\/em><\/a><\/p>\n

Michele Rinaldi<\/em><\/a><\/p>\n

Natasha Burenina<\/em><\/a><\/p>\n

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Curator<\/em><\/h3>\n

Kasper Bergholt<\/a><\/em><\/p>\n

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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<\/em><\/a>.<\/p>\n

The inscription also serves as a time-space stamp for what could be considered the final exhibition text.<\/p>\n

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.<\/p>\n

“To write is to produce a mark that will constitute a kind of machine that is productive in the absence of the subject”<\/em>, Derrida in ‘Signature, Event, Context’.<\/p>\n

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\"The<\/a><\/p>\n

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