Three of my AIfilms at The Wrong Biennale

I am pleased to share that three of my recent AIfilms are being presented in this year's edition of The Wrong Biennale, each in a different curatorial pavilion.

Since its founding in 2013, The Wrong has become one of the most vital platforms for contemporary digital experimentation — a decentralized, global constellation of exhibitions where artists test forms, challenge assumptions, and expand the space of digital culture.

In a moment where AI is often framed only as a technological tool or societal disruption, The Wrong creates room for nuance — for creative and critical inquiry, poetic speculation, and aesthetic risk-taking. I’m honored to contribute to that conversation.

Here are the pavilions and works:

📍 Radical Dreamers

Curated by Laura Focarazzo View Pavilion →

Pavilion Description: Radical Dreamers explore a series of audiovisual works that integrate artificial intelligence into their creative processes. Acknowledging that technology is never neutral, artists create a vital space for aesthetic and political resistance to algorithmic systems. The pavilion invites viewers to uncover biases, challenge dominant narratives, and broaden their perspectives.

Artists: Julien Pacaud, Kelly Boesch, Erik Salvaggio, Mecha Mio, Erin Robinson, Isabel Englebert, Jeff Zorrilla, Eternal Art Space, Mont Carver, Francesca Fini

My Work: Paper World (2025) — a hybrid cinematic sculpture made of fragmented memories, cardboard mythologies, and digital breath. In this piece, AI becomes a space of fragile architecture and narrative erosion — a terrain where materiality, fiction, and algorithmic imagination fuse into a world that is constantly building and unbuilding itself.

📍 Artificial Lines of Flight

Curated by Isil Ezgi Celik View Pavilion →

Pavilion Description: Artificial Lines of Flight takes inspiration from Gilles Deleuze’s concept of ligne de fuite — a line of escape, of transformation, of rupture from systems of power, structure, and sense. In this context, the exhibition considers how AI and algorithmic creativity can enact such a line of flight: not only by generating uncanny, absurd, or surprising artefacts, but by unsettling the norms of authorship, aesthetics, and intention.

Artists: Blanche The Vidiot, Copy Planet, Domenec Miralles Tagliabue, Domenico Barra, Francesca Fini, Hyun Cho, Jean-Michel Rolland, Jie Shuai, Lewis Brown, Marcus Wallinder, Mark Cypher, Miguel Ripoll, Mike Petrakis, Mizuho Nishioka, Paulius Sliaupa, Una Raneta (Toñin Lizana), Zivia Li

My Work: LOVE (2025) — a chapter in my ongoing cinematic research into emotional architectures and synthetic embodiment. Here, love is treated not as sentiment but as a force of rupture — a current that dissolves forms, identities, and narrative gravity. Through AI-driven imagery and performance processes, the work investigates intimacy as metamorphosis and escape.

📍 META-MORPHOSIS

Curated by Hernando UrrutiaGeneral Direction: David Quiles Guilló View Pavilion →

Pavilion Description:It is an encounter with transformation as metamorphosis from the digital sphere, where different visions of each of the different selected artists are exhibited, presenting different metamorphoses of digital languages in the form of visualisation, always seeking in their development the formal connection between art and technology.

Artists: Iury Lech, Malitzin Cortes — CNDSD, Igor Imhoff, Amaya Mendizabal González — Glasz DeCuir, Eduardo Medina — ESSTRO9, Eric Souther, Guli Silverstein, Peio Duhalde, Hernando Urrutia, Francesca Fini

My Work: Hello World — The Awakening (2024) — part of a film cycle exploring emergent consciousness through poetic code, post-human myth, and algorithmic memory. This work imagines a synthetic entity returning to awareness in an abandoned world, searching for meaning in the residue of human presence.

These three works belong to a larger inquiry into hybrid identities, choreographic cinema, and AI as a performative partner rather than a production tool.

I am grateful to the curators and fellow artists shaping this edition — and I look forward to continuing this dialogue on the future of moving image, perception, and digital embodiment.

More soon — and thank you for reading!

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https://www.francescafini.com/