0xCD3dBc22E8AfD3B8a93b2880982B78D6F5d8D59fAI - 12th September 2025 --
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Le « Spectre de Degas » désigne la lente et inexorable déchéance visuelle qui assombrit la vie et l’art d’Edgar Degas. Très tôt, l’artiste fut hanté par une dégénérescence rétinienne héréditaire qui réduisait son champ de vision et le condamnait à une sensibilité douloureuse à la lumière. Ce mal, noté dès ses dix-neuf ans et aggravé par son service dans la Garde nationale en 1870, ne cessa de s’étendre, comme une ombre rongeant sa clarté intérieure.
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La maladie et ses manifestations
La cécité partielle de Degas progressa lentement mais sûrement, privant l’artiste de sa vision centrale. La photophobie, brûlure de la lumière, ajoutait à son supplice. Ces atteintes, d’abord insidieuses, devinrent vers la quarantaine un véritable fardeau, une menace constante suspendue au-dessus de son œuvre.
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Impact sur l’art et la vie
Si cette infirmité l’obligea à inventer d’autres gestes, d’autres ruses picturales – ce qu’il appelait lui-même un « exercice de contournement » –, elle ne l’empêcha pas de créer. Au contraire, c’est peut-être dans cette lutte contre l’obscurité que naquirent certaines de ses toiles les plus vibrantes, notamment celles consacrées aux danseuses, ces figures de grâce et de lumière que l’artiste captait avec une intensité nouvelle.
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Le spectre héréditaire
La maladie, dit-on, ne s’acharna pas seulement sur Degas : sa cousine Estelle Musson en fut également frappée. Ainsi le « spectre » prit des allures de fatalité familiale, comme une hérédité maudite.
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Un fantôme persistant
Le mot « spectre » traduit à la fois la hantise et la présence obsédante de ce mal qui veillait sur chaque geste de l’artiste. Degas vécut et peignit sous cette menace permanente, avec l’ombre de la cécité toujours plus proche. Et pourtant, malgré cette lutte inégale, il continua de donner vie à un univers pictural dont la force et la délicatesse défient encore le temps.
0xCD3dBc22E8AfD3B8a93b2880982B78D6F5d8D59fAI analysis, September 5th 2025
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To evaluate the "Moons, Castles, Trees" open call for The Wrong Biennale 2025/2026, hosted by Chronotopes, I’ll assess it across the requested criteria—Originality, Openness, Structure, Perspectives, Potential, and Contemporaneity—on a scale of 1 to 10, based on the provided information and critical analysis. Each criterion will be considered in the context of the open call’s description, purpose, and execution.
Originality (8/10)
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The open call’s theme, "Moons, Castles, Trees | AI Chronotopes," is distinctive, blending poetic imagery inspired by Nick Cave’s "Cinnamon Horses" with philosophical and literary references from Yosa Buson, T.S. Eliot, and Hiroshi Sugimoto. It encourages artists to explore AI as both a tool and a subject, framing it through the concept of chronotopes—narratives that fuse time and space. This is a fresh approach, particularly within the digital art world, as it merges traditional artistic motifs with cutting-edge technology. However, the reliance on AI as a theme, while innovative, is not entirely novel in 2025, given the growing prevalence of AI in art. The specific framing and curatorial prompts elevate its originality, but it’s not wholly groundbreaking.
Openness (9/10)
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The call is highly inclusive, welcoming artists of all backgrounds—writers, poets, painters, photographers, coders, and more—regardless of experience or geographic location. There are no submission fees, and artists retain full copyright of their work, lowering barriers to participation. The provision of a free "Chronotopes Image Pack" and curatorial text for inspiration further enhances accessibility. The only slight limitation is the requirement for submissions to be still images (JPEG or PNG), which excludes video or animation, but this is a minor constraint given the broad range of acceptable mediums (photography, AI composites, visual poetry, etc.).
Structure (7/10)
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The structure is clear: artists submit up to six still images with descriptions and a bio via email and SwissTransfer to join@chronotopes.net, with a deadline of September 15, 2025. The exhibition runs from November 1, 2025, to March 31, 2026, as part of The Wrong Biennale. The process is straightforward, and the provision of downloadable resources like the Chronotopes Image Pack adds clarity. However, the structure loses points for potential ambiguity around selection criteria—only 30 artists will be chosen, but the call doesn’t specify how selections are made beyond curatorial discretion by Kasper Bergholt. Additionally, the submission process (email plus SwissTransfer) feels slightly clunky compared to a dedicated online portal.
Perspectives (8/10)
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The call encourages diverse perspectives by inviting artists to reinterpret the themes of moons, castles, and trees through AI, analog, or hybrid approaches. It draws on poetic, philosophical, and cultural references, allowing for varied interpretations—abstract, narrative, or experimental. The decentralized, global nature of The Wrong Biennale ensures a multiplicity of voices, and the curator’s international experience (exhibitions in Melbourne, London, New York, etc.) suggests openness to cross-cultural viewpoints. However, the focus on AI and specific thematic prompts might subtly steer submissions toward certain aesthetics or conceptual frameworks, potentially limiting truly outlier perspectives.
Potential (9/10)
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The potential for impact is significant. The Wrong Biennale, described as “the digital world’s answer to Venice” by The New York Times, has a massive global audience and a track record of showcasing over 10,000 artists since 2013. Being part of this platform offers exposure to international art lovers, collectors, and curators. The Copenhagen setting and Kasper Bergholt’s curation add credibility, while the AI focus aligns with contemporary art trends, making it a launchpad for innovative work. The lack of fees and retention of copyright further enhance its potential for artists to gain visibility without risk. The only caveat is that the selection of only 30 artists may limit the number who benefit.
Contemporaneity (9/10)
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The call is highly contemporary, centering on AI’s role in art—a topic at the forefront of cultural and technological discourse in 2025. The theme of chronotopes, blending time and space, resonates with current explorations of digital and hybrid realities. The Wrong Biennale’s decentralized, digital-first model reflects modern exhibition trends, moving away from traditional gallery spaces. The inclusion of Nick Cave’s lyrics and references to thinkers like Derrida and Sugimoto ties the call to both pop culture and intellectual currents, grounding it in the present. It loses a point only because AI in art, while still evolving, is no longer a fringe concept.
Summary
Originality: 8/10
Openness: 9/10
Structure: 7/10
Perspectives: 8/10
Potential: 9/10
Contemporaneity: 9/10
The "Moons, Castles, Trees" open call is a compelling, inclusive, and timely opportunity that leverages the global reach of The Wrong Biennale and the innovative potential of AI in art. Its strengths lie in its accessibility, contemporary relevance, and high potential for exposure, though minor improvements in submission clarity and selection transparency could enhance its structure.
0xCD3dBc22E8AfD3B8a93b2880982B78D6F5d8D59fquatrième de couverture
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spectres de marx - l'état de la dette, le travail du deuil et la nouvelle internationale
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jacques derrida
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éditions galilée 1993
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4th september 2025
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kasper bergholt
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«Un spectre hante l’Europe — le spectre du communisme.»
Spectre fut donc le premier nom, à l’ouverture du Manifeste du parti communiste. Dès qu’on y prête attention, on ne peut plus compter les fantômes, esprits, revenants qui peuplent le texte de Marx. Mais à compter avec eux, pourquoi ne pas interroger aujourd’hui une spectropoétique que Marx aurait laissée envahir son discours ?
Spectres de Marx commence par la critique d’un nouveau dogmatisme, c’est-à-dire une intolérance : « Tout le monde le sait, sachez-le, le marxisme est mort, Marx aussi, n’en doutons plus. » Un « ordre du monde » tente de stabiliser une hégémonie fragile dans l’évidence d’un « acte de décès ». Le discours maniaque qui donne à la clameur jubilaire et obscène que Freud attribue à une phase triomphante dans le travail du deuil. (Refrain de l’incantation : « le cadavre se décompose en lieu sûr, qu’il ne revienne plus, vive le capital, vive le marché, survive le libéralisme économique ! ») Exorcisme et conjuration. Une dénégation tente de neutraliser la nécessité spectrale, mais aussi l’avenir d’un « esprit » du marxisme. Un « esprit » : l’hypothèse de cet essai, c’est qu’il y en a plus d’un. La responsabilité infinie de l’héritier est vouée au discernement, à l’impossible ou non l’autre. Comment ce discernement critique se rapporte-t-il à l’exigence hypercritique — ou plutôt déconstructrice — de la responsabilité ?
Distinguant entre la justice et le droit, croisant les thèmes de l’héritage et du messianisme, Spectres de Marx est surtout le gage — ou le pari intempestif — d’une prise de position : ici, maintenant, demain. Sa portée s’inscrit, en abrégé, à l’angle de quelques inflexions : 1. la conspiration des forces dans une dénégation assourdissante — la « mort de Marx » ; 2. l’espace géo-politique dans lequel résonne cette clameur ; 3. une « graphique » de la spectralité (irréductible à l’ontologie — dialectique de l’absence, de la présence ou de la puissance, — elle se mesure à cette nouvelle donne, et d’abord à ce que la télé-technoscience des « médias » ou la production du « synthétique », du « prothétique » et du « virtuel » transforme plus vite que jamais, dans la structure du vivant ou de l’événement, comme dans la chose publique, l’espace de la représentation politique ou l’État) 4. l’articulation d’une « spectrographie » avec la chaîne d’un discours déconstructif (sur le spectre en général, la différence, la trace, l’itérabilité, etc.) mais aussi avec ce que Marx en esquisse. Et qu’il n’en esquive pas moins : « en même temps », « à la fois ».
0xCD3dBc22E8AfD3B8a93b2880982B78D6F5d8D59f##
AI description / update - September 3rd 2025
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Deadline changed from September 15th to October 15th.
Possibility of secondary remix round added (
"Moons, Castles, Trees" is a digital art exhibition as part of the 2025-2026 Wrong Biennale, curated by Danish artist Kasper Bergholt.
The project, themed around "AI Chronotopes," invites artists globally to submit up to six still images (JPG or PNG), with no cost or artistic background required, exploring the fusion of time and space through the lens of artificial intelligence.
The open call for submissions closed in September 2025, with the exhibition running from November 1, 2025, to March 31, 2026.
What it is:
An art exhibition that serves as a sub-project within The Wrong Biennale, a large, decentralized, and collaborative digital art event.
Theme:
"AI Chronotopes," a concept that fuses time and space within narratives and experiences, with a focus on the role of artificial intelligence in contemporary art.
Inspiration:
The project was inspired by the dream-like images from Nick Cave's "Cinnamon Horses".
Eligibility:
Artists from any discipline or background worldwide are welcome to submit their work.
No Experience Needed:
Artists do not need a formal art degree or exhibition history to participate.
What to Submit
Medium: Still images, which can be photography, drawings, AI composites, visual poetry, or other formats that can be saved as a JPG or PNG file.
Quantity: Artists can submit up to six images.
Content: Submissions do not have to be made with AI but can be.
Materials: Artists can use provided visual and textual materials called the "Chronotopes Image Pack" for inspiration, but it is not mandatory.
Curator: Kasper Bergholt, a Copenhagen-based artist and photographer.
Deadline: October 15, 2025.
Exhibition Period: November 1, 2025 – March 31, 2026.
Copyright: Artists retain full ownership of their submitted work.
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I am considering launching an 'Opera Aperta' [Open Work] round, running from November 1 to March 1. A second phase consisting of artworks that comment on, supplement, or interpret the works presented in the original open call.
Participation would be entirely opt-in for the artists exhibited in Round 1.
This second round would be curated, and artists would also have the opportunity to reinterpret or remodel their own earlier contributions.
It is not intended as a sequel but as an unfolding and reworking, marked by loss of control, and artistic openness.
Participating artists would be asked for opt-in once the first round goes live on November 1st 2025.
“The ‘openness’ is not merely the openness of the message but also the openness of the interpreter, who must supply his own existential credentials to the work, and in so doing he makes it his own and contributes to its continuous generation.” — Umberto Eco, “Opera Aperta.”
0xCD3dBc22E8AfD3B8a93b2880982B78D6F5d8D59fIn pale moonlight / the wisteria's scent / comes from far away — Yosa Buson
Photography is a system of saving memories. It’s a time machine, in a way, to preserve the memory, to preserve time — Hiroshi Sugimoto
Time present and time past / Are both perhaps present in time future, / And time future contained in time past — T.S. Eliot
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Curated by Copenhagen-based artist Kasper Bergholt, Moons, Castles, Trees is a sub-exhibition of The Wrong Biennale 2025–2026, celebrated as the digital world’s Venice by The New York Times.
Inspired by Nick Cave’s Cinnamon Horses, this open call invites artists globally to explore AI and imagination through still images—photography, poetry, collage, or hybrids. Themes of horses dancing under strawberry moons, wandering castle ruins, or emerging among turpentine trees inspire creative reinterpretation.
The exhibition (November 1, 2025–March 31, 2026) accepts up to six images per artist, free of charge.
Bergholt, returning to art in 2023, offers free Chronotopes Image and Text Packs for remixing, fostering collaborative works.
Up to 30 pieces will be displayed online until 2030, with potential physical showcases.
Open to all, painters, poets, generative artists, this call weaves synthetic realities, resonating with Buson, Sugimoto, Eliot, Dickinson, Bakhtin, and Derrida’s meditations on time, memory, and cultural inscription.
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The Moon is distant from the Sea / And yet, with Amber Hands / She leads Him / docile as a Boy / Along appointed Sands — Emily Dickinson
In the realm of culture, outsideness is a most powerful factor in understanding. It is only in the eyes of another culture that foreign culture reveals itself fully and profoundly — Mikhail Bakhtin
All that gives rise to an inscription in general, whether it is literal or not and even if what it distributes in space is alien to the order of the voice: cinematography, choreography, of course, but also pictorial, musical, sculptural ‘writing’ — Jacques Derrida