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Constant Dullaart

How the Internet Prices People

The in­ter­net does not only con­nect peo­ple. It cat­e­go­rizes them, ranks them, and as­signs val­ue to their vis­i­bil­i­ty. Con­stant Dullaart’s work ex­pos­es that pric­ing sys­tem by in­ter­ven­ing in the mech­a­nisms that turn pro­files into prod­ucts and at­ten­tion into a mar­ket.

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Iranian Memory in the Age of AI

In the on­line ex­hi­bi­tion Dig­i­tal Di­van at The Wrong Bi­en­nale, Iran­ian artists use AI to move in­scrip­tions, myth, or­na­ment, and frac­tured selves into new vi­su­al forms, treat­ing cul­tur­al mem­o­ry as some­thing that sur­vives through change rather than preser­va­tion alone.

Lorde - Ultrasount Tour

Fast Cuts Under Bright Lights

The al­bum Vir­gin by Lorde feels like pop record­ed with the door left open, glitch­es in­tact and edges un­pol­ished. When trans­plant­ed to con­cert, Ul­tra­sound stages that raw­ness like a med­ical pro­ce­dure, us­ing fast cuts and big-screen close-ups to man­u­fac­ture in­ti­ma­cy through mag­ni­fi­ca­tion.

brat

Auto Tune Becomes The Protagonist

Auto-Tune is per­son­i­fied on Brat turn­ing vo­cal pro­cess­ing into sto­ry­telling rather than pol­ish. The mock­u­men­tary The Mo­ment ex­tends this on­screen, mak­ing pop per­sona the sto­ry it­self.

Una’s Love Beyond Flesh

Feeling Inside the Interface

At The Wrong Bi­en­nale, the on­line ex­hi­bi­tion Cod­ed Feel­ings ex­plores how dig­i­tal sys­tems shape emo­tion­al life from with­in. Across works about in­ti­ma­cy, con­sump­tion, con­trol, and false promise, the ex­hi­bi­tion shows that dig­i­tal tools no longer sim­ply car­ry emo­tion. They now in­flu­ence how emo­tion is built, di­rect­ed, and ex­pe­ri­enced in every­day life.

Formidiables

Figurative Revival in AI Horror

Formidi­a­bles, an on­line pavil­ion with­in The Wrong Bi­en­nale, treats AI hor­ror as a force that pulls im­ages back to­ward bod­ies. In­stead of drift­ing into pat­tern or pure at­mos­phere, the work in­sists on faces, anato­my, and pres­ence. The un­ease comes from dis­tor­tion, but the main ef­fect is fig­u­ra­tive: the hu­man and the crea­ture re­turn as the cen­ter of at­ten­tion.

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