Code Error is a multimedia project exploring breakdowns: digital, biological, evolutionary, and gendered. It brings together 12 artists from Europe and the USA, each working with visual and systemic distortions.

These twelve unique approaches to error, whether rooted in code, gender, or evolutionary processes, form a layered field of investigation, turned into an artistic strategy.

The project affirms complexity, mutating identity, and the right of error to exist. Failures of code are seen not as malfunctions but as opportunities, where mutation becomes both survival and a path to the new.

Its core idea: error is a form of life, mutation is the language of evolution, and breakdown is an act of freedom. At the heart of the inquiry is (artificial) intelligence, at once collaborator and adversary, and a mirror of natural systemic breakdowns in species, gender, and ecosystems. It provokes thought and becomes a tool through which artists generate new visual forms, while confronting their own perceptual limits and exposing failures.

The Pavilion is the artistic research, the first stage of a Web Documentary, a constantly shifting, never-finished investigation. Each participant creates an “episode of error,” a line of code, a personal visual language. Together, these episodes compose a dynamic archive that never stabilizes but continually transforms.

In its next stage, Code Error will become interactive, inviting the audience to participate in shaping the work. Viewers will be able to contribute comments, thoughts, and data, turning the web documentary into a shared, living system.

Social media platforms such as Instagram, X (Twitter), TikTok, and Threads will function as an external code layer, where users can publish their own “errors” (images, videos, or short texts) using the hashtag #CodeError and unique episode codes. These contributions will feed into the evolving archive.

In parallel, live-streamed sessions on Instagram, YouTube will introduce talks with the participating artists, allowing comments from the audience, which will instantly become part of the work. This participatory layer will reinforce the project’s processual nature and transform the Pavilion into an immersive, collectively authored environment aligned with the experimental and networked spirit of The Wrong Biennale.

Thus, the Pavilion becomes a laboratory of errors: a living, expanding research process that will keep evolving. With each phase, new material is added, gradually forming a complex, ever-developing web documentary where breakdown itself is an artistic, cultural, and evolutionary experience.

Founded in 2013 by David Quiles Guilló, The Wrong Biennale operates as an open, decentralized platform for artists and curators to present digital art. The Wrong Biennale does not have a formal thematic focus, and each pavilion is curated independently. The Wrong has been awarded an honorary mention by the European Commission's S+T+ARTS initiative, and has recently joined the IBA - International Biennial Association as its newest institutional member.

When The Wrong first appeared in 2013, the internet still felt weightless. Artists coded, glitched, streamed, and dreamed their way into new forms of expression. Twelve years forward, now algorithms curate and machines imagine.

The Wrong returns, once again, for its 7th time, to explore what art becomes when technology stops being a tool and starts being the muse.

The Wrong Biennale is not an exhibition but a constellation. A global web of digital pavilions and physical embassies hosted by curators, artists, and institutions worldwide. Each node connects people, ideas, and artworks in a collective choreography of curiosity.

Since its first edition, The Wrong has gathered more than 10,000 artists and curators, received the European Commission’s S+T+ARTS honorary mention, and appeared in major institutions such as the Centre Pompidou Paris, Tate Britain London, Centre del Carme Valencia, University of Arts Linz, ZKM - Zentrum für Kunst und Medien Karlsruhe, Centro de Cultura Digital Ciudad de México and SESC São Paulo.

But numbers tell only half the story. The Wrong is not an event; it’s a coalition that grows in the cracks between art, technology, and society. Only possible every two years, when collaborative boundaries dissolve, and collective imagination expands.

The upcoming edition embraces a world transformed by artificial intelligence. A world where the curator may be a human, a machine, or something in between; The Wrong Biennale becomes both a mirror and a laboratory. A reflection of the present time at a global scale, while always prototyping new ways of curating, thinking, seeing, and creating together.

Twelve years on, The Wrong returns. To connect. To question. To dream. Again.

The Wrong Biennale.
November 1st, 2025 to March 31st, 2026.
https://thewrong.org

The New York Times:

Counting its viewership in the millions, The Wrong just might be the world's largest art biennale — the digital world's answer to Venice. To visit, art lovers needn't purchase a plane ticket, book a hotel or queue outside galleries: Admission requires only internet access.


Fakewhale.xyz

As digital spaces increasingly permeate our lives, the landscape of contemporary art too has witnessed a significant transformation, shifting from the confines of traditional gallery spaces to expansive digital platforms. This new arena is where The Wrong Biennale stands out, reflecting this evolution and actively shaping the narrative of what artistic expression in the digital age can be.

Press - TheWrongBiennale

Pavilion

A pavilion is an online exhibition hosted by an artist, curator, collective, or institution, featuring the works of 10 or more artists.

An online exhibition (what we call pavilion) is a space to show and share art, ideas, and cultural experiments on the internet.

It lives online, not inside walls, and can take many shapes: a simple webpage, a social media profile, an interactive playground, or a full virtual world.