"I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means. What I want and what I fear" (Didion 1968). Similarly, Suruchi and Aishwarya curate and shape the project not to declare what is known, but to discover what is emerging: reflections caught mid-thought, interviews where questions linger, journal entries that repeat a line or circle a meaning. It is not a finished argument, but a space for conversation, where commentaries and critiques accumulate over time. To visit here is to enter their ongoing reckoning, a willingness to stay near as ideas shift and gather weight. Over the coming months, the curators debate amongst themselves and otherwise, question and assumptions concerning the curatorial, framing, artistic research, critique, political philosophy, and the biennialization of the arts. This is what you will witness here.
“Modernity is the incessant creation of hybrids. Understanding the world requires tracing associations between humans, nonhumans, and machines.”
— Bruno Latour, We Have Never Been Modern
“Music begins where the possibilities of language end.”
— Jean Sibelius, speaking to music’s power beyond spoken or written articulation
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The Stage Rabbit Pavilion joins the 7th edition of The Wrong Biennale by expanding the frame of inquiry beyond AI to consider how intelligence, language, and presence are mediated, trained, and transmitted under the current acceleration of digital and networked conditions. Stage Rabbit’s engagement with gestures and encounters—embodied, hybrid, and diasporic—serves as an entry point to examine how such practices are reframed, displaced, or intensified in digital contexts and under machinic logics that increasingly shape cultural production. ​
While the Biennale foregrounds the artistic side of artificial intelligence, our pavilion treats AI less as a tool and more as a context—one that collides with performance traditions, corporeal knowledge, and posthumanist critiques of what intelligence can mean – and looks at how it affects practices rather than form alone. The pavilion resists narrow dualisms of human versus machine, instead opening a living site where artists reimagine intelligence, training, and collaboration beyond anthropocentric frames. While the focus of the programme remains on the processes and works of the artists of Stage Rabbit, we also bring to stage the practices, archives, and events of artists associated with the studio in varying capacities.