The Improper Biennale doesn’t belong to at least one metropolis. It spreads by means of browsers and time zones, spilling by means of hyperlinks as an alternative of halls. On this dispersed geography, curators construct their very own rooms; coded, filmed, carried out, or imagined, every a fraction of a bigger, shifting entire.
In its seventh version, the Biennale appears carefully at AI’s artistic residue: what occurs when image-making turns into a dialog between human reminiscence and machine suggestion. What stays after prompts finish. The place reminiscence, dataset, and intention meet.
“Counting its viewership within the tens of millions, The Improper simply could be the world’s largest artwork biennale — the digital world’s reply to Venice.
To go to, artwork lovers needn’t buy a aircraft ticket, guide a lodge or queue exterior galleries: Admission requires solely web entry. ”
As an artist, I work inside that house the place photos, sound, and video act like notes handed between an individual and a machine. My work is included in two pavilions, Video Version ArtIn and Compost^.
1. The Improper Biennale: The Major Occasion
Dates: November 1, 2025 – March 31, 2026
Location: International / On-line
Study Extra: thewrong.org
Based in 2013 by David Quiles Guilló and arranged by The Improper Studio, the biennale is decentralized by design. There is no such thing as a single headquarters and no fastened route. You enter by means of an inventory of Pavilions, then cross into unbiased websites and social pages that host the work. It’s democratic and porous. Coders, artists, and curators meet with out the same old gatekeeping.
This seventh version treats AI as each a instrument and a collaborator. Algorithms prolong instinct. Authorship turns into a query as an alternative of a declare.
Find out how to Navigate The Improper Biennale
Begin at The Improper Biennale homepage. Every blue hyperlink opens a Pavilion card with their assertion and listing of curators and artists. Click on “Enter Pavilion” to maneuver off-site.
Some Pavilions additionally host Embassies, in-person areas the place the digital turns social, and networks change into locations throughout cities in the course of the 5 months. Every Embassy acts as a neighborhood node in a world organism.
2. Video Version ArtIn: A Improper Biennale Pavilion
Curated by: Ebba Jahn
Pavilion: Video Version ArtIn
Full Video: Watch on Vimeo
Ebba Jahn curates a world lineup that spans video, sound, and textual content, the place AI acts as muse, assistant, or co-author. The video artists are paired with improvisational and experimental musicians.
The Video Version ArtIn Pavilion reads like a lab pocket book made public. Artists present course of in addition to consequence: prompts tried, distortions stored, and accidents left in place, offering a glimpse into how inventive intent evolves when filtered by means of algorithmic likelihood.
Video Playlist & Weblog:
Title music – Double Bass Quartet SEQUOIA Meinrad Kneer/Antonio Borghini/Miles Perkin/Klaus Kürvers
1 Xeno Genesis Circuit – Gözde Betülay Yorulmaz, Istanbul/Turkey
2 Transmuted Constructions – Andrew McSweeney, Cork/Eire
3 Olympic Dahlias – Joelle McTigue, Montenegro | Music – Marcello Magliocchi, Matthias Boss
4 Vary of View – E & Dwayne Jahn, Berlin/Germany | Music – Philip Goddart
5 Helium and Water I – Laura Fong Prosper, Panama/Berlin
6 Awe – Romina Rahnamoun, Tehran/Iran | Music – Cello Quartet Hunter
Underwater Guilherme Rodrigues, Gábor Hartyáni, Uygur Vural, Hui-Chun Lin
7 Ethereal Lady – Romina Rahnamoun, Teheran/Iran
8 Chimere and the Everlasting Golden Braid – Maria Sappho, Glasgow /Scotland
9 Fragment – Barry Anderson, Kansas Metropolis/USA
10 Afterglow of Chaos – Pierre Ajavon, Paris/France
11 Sculptural Fabrications – Dwayne Jahn & Ebba | Music – Hassina Sakhri
12 Helium and Water II – Laura Fong Prosper, Panama/Berlin
13 Anemone – Gergana Ivanova & Ioana Țurcan, Romania
14 Insomnia – Eliza Ari, Russia/Turkey
15 Cheat – Dominika Aurelia Korycka, Warsaw/Poland
16 Anatomia – Megan Volpe, Genova/Italy
17 Journey/2.0 – Tianyun Zuao, London/UK
18 Broke Dangerous – Ornagh, London/UK | Soundtrack – Anja Kreysing
19 Helium and Water III – Laura Fong Prosper, Panama/Berlin
20 ZEMI – Maria Sappho, Glasgow, Scotland/UK
21 Tidal Interferences – Anja Kreysing, Münster/Germany
22 Artwork Video Poem 7 – Ebba & Dwayne Jahn, Berlin/Germany
23 Introspective Initiations – Arun Natarajan, Henrik Meierkorn | Music – Mia Zabelka, Steiermark /Austria
Weblog:
24 Video Installations by Jean-Julien Pous are linked to his web site.
25 Curator Ebba Jahn – About
3. Olympic Dahlias: Inside the Video Version ArtIn Pavilion
Artist: Joelle McTigue
Pavilion: Video Version ArtIn
Music: Monitor 3 LEOCANTOR trio (plus): “Sacre de l’ete”,
Marcello Magliocchi (drums, percussion) and Matthias Boss (violin),
Recorded on Aug 12, 2024, Church of St. James of Escholzmatt/Luzern, Switzerland
I collaged Olympic Dahlias from re-configured AI-generated picture sources to think about the flower designed for Paris 2024. The origin level is Parc Floral de Paris. Purple petals echo the torch, then flicker by means of artificial mild.
The objective is just not an ideal render. Olympic Dahlias compresses a second of historical past into pixels, echoing the best way tradition archives magnificence not as a preserved object, however as an evolving algorithm. It’s a document of how reminiscence strikes by means of media and adjustments because it passes by means of a mannequin.
The rating strikes like breath below circuitry. Magliocchi’s percussion and Boss’s violin set a pulse. The bloom turns into mechanical and human directly.
4. Compost^: A Improper Biennale Pavilion
Curated by: Ricardo Bodini, Camila Jordan, and MarkleSparkles
Pavilion: Compost^
The paradox of AI overproduction inherently consists of the unnatural curation means of picture and textual content technology that creates tens of millions for the choice of some.
The Compost^ Pavilion imagines a second life for these discarded by-products, reworking digital waste into uncooked materials for collective creativity. Picture and textual content change into matter. Work decomposes and feeds new work.
The primary part of the Pavilion is Mycelium dives into this abyss, the place trash turns into tissue. It questions, “What worth is in an area the place all the things is expendable?”
The second part, Terra preta^ will open quickly as an area for textual content hypothesis. My textual content work included on this part is ‘the archive goals us: the place mild remembers wrongly, seventeen haiku’, which explores how we work together with reminiscence.
Compost^ thrives on the detritus, the remnants of the algorithm’s extra. This pavilion isn’t any temple; it’s a scrapyard, a manufacturing facility of re-creation. From the wasted, we weave; from the rejected, we dream.
Digital Territory
The Improper Biennale challenges us to rethink what an artwork honest or biennial will be. It emphasises networked, world, screen-based, hybrid codecs, resonating strongly with up to date pictures and lens-based practices migrating into video, AI, VR, and digital Pavilions.
If you’re in London, Trondheim, Mexico Metropolis, Münster, Porto, Valencia, Budapest, Moscow, or Toronto between November and March, verify the Node part of The Improper Biennal’s homepage for in-person occasions. Some are one-night solely, whereas others run for the season. In any other case, the complete community is reachable out of your browser.
What to Count on Subsequent
Don’t wish to miss my work in Terra preta^? Subscribe to my Substack beneath.
Supply hyperlink
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