AI Traces marks the second phase of the exhibition Moons, Castles, Trees | AI Chronotopes, itself a sub-exhibition within the seventh edition of The Wrong Biennale.

In the traditional art world, a work was often completed with a layer of varnish (from the Latin vernicis, resin, amber) that serves as both artistic closure and as protection.

Perhaps both literally and metaphorically. The piece became a work: fixed, finalized, put on display. Hence the term vernissage for the presentation of a new exhibition.

The digital realm, by contrast, often resists the linear and hierarchical.

It embraces the cyclical and the iterative: version after version, whether in sound, image, or text.

It has never been easier to create new versions of things: to optimize them, destroy them, or transform them.

In that spirit, Moons, Castles, Trees | AI Chronotopes now enters a second phase.

Varnish can also be applied in layers, allowing one to return to earlier stages through an act of erasure.

Artists whose works were part of the original exhibition are invited to make their material available for reinterpretation, some of which will be easily traceable, others radically transformed, unrecognizable in their origins.

Everyone is welcome to reinterpret the material and submit new works if they feel the new piece deserves to exist. In this sense, the end of the exhibition may mark the beginning of something new.

There's also a meta-element inherent in the creation of a two-layered digital archive that will have its content crawled, extracted and interpreted algorithmically.

AI Traces marks the second phase of the exhibition Moons, Castles, Trees | AI Chronotopes, itself a sub-exhibition within the seventh edition of The Wrong Biennale.

In the traditional art world, a work was often completed with a layer of varnish (from the Latin vernicis, resin, amber) that serves as both artistic closure and as protection.

Perhaps both literally and metaphorically. The piece became a work: fixed, finalized, put on display. Hence the term vernissage for the presentation of a new exhibition.

The digital realm, by contrast, often resists the linear and hierarchical.

It embraces the cyclical and the iterative: version after version, whether in sound, image, or text.

It has never been easier to create new versions of things: to optimize them, destroy them, or transform them.

In that spirit, Moons, Castles, Trees | AI Chronotopes now enters a second phase.

Varnish can also be applied in layers, allowing one to return to earlier stages through an act of erasure.

Artists whose works were part of the original exhibition are invited to make their material available for reinterpretation, some of which will be easily traceable, others radically transformed, unrecognizable in their origins.

Everyone is welcome to reinterpret the material and submit new works if they feel the new piece deserves to exist. In this sense, the end of the exhibition may mark the beginning of something new.

There's also a meta-element inherent in the creation of a two-layered digital archive that will have its content crawled, extracted and interpreted algorithmically.