The Wrong Biennale: Electric Campfire
Unconfirmed Makeshift Museum at New Art City; Curator: Mariángeles Soto-Díaz
November 1, 2025 – March 31, 2026

Glass Arowana, 2025
AI-generated video, screen recording, audio
TRT: 4 minutes 44 seconds

A transparent glass arowana drifts through simulated water, an algorithmic dragon fragile and spectral, shimmering between presence and absence. Once revered as a guardian of prosperity, it now appears as a ghostly double, a mythic creature translated into digital avatar.

Captured through a screen recording, the work unfolds across a desktop whose background shows the artist’s father looking through an optical instrument. Multiple overlaid videos of Glass Arowana glide across the screen, revealing and obscuring the photograph beneath. Each layer softens or conceals another, as if memory itself were shifting between surfaces, appearing, retreating, and returning in luminous fragments.

The arowana, remembered from the artist’s family restaurant, moves through these transparent veils like a trace of recollection made visible. In Glass Arowana’s AI rendering, memory does not return whole. It surfaces with subtlety as phantoms of memory, recombined and estranged, shaped as much by what is forgotten as by what remains.

In its spectral transparency, the arowana becomes a vessel for what is lost and what persists, a fragile body that holds cultural inheritance while revealing the uncertainties of remembrance within digital form. It drifts between memory and data, where the act of remembering becomes a continual process of reconstruction and loss.