Open call for proposals to build the first edition among artists, cultural managers, researchers, technologies, institutions and cities. The guidelines are published when each call opens.
CHANNELS as Curatorial Axes
Overflows of Time as the first channel, is proposed as a Borgesian concept and feeling that brings to light the constant friction of “Time is a river which sweeps me along, but I am the river.” Currents and sediments, accelerationism and fatigue in the face of horror, bits of water, the feeling that time is fading, that memory is useless — which memories, who remembers, who decides how much and what remains in memory(ies).
This conceptual channel is presented as an axis that questions the contemporary state of overflow, an invitation to give material form to the technical-artificial-human drives at stake, and to the conceptions of memory, times and knowledge that accelerate or halt the flow of the common from the margins.
The Power of Wonder in Artificial Times as the second channel refers to the method, practices and movements that insist on the power of wonder in times of informational fatigue. Movements that, to paraphrase Verónica Gago, question the power of transformation —in this case, of wonder— to “reclaim the indeterminacy of what can be done, of what we can do. That is, we do not know what we can do until we experience the displacement of the limits we were made to believe in and obey. This is not a naive theory of power. It is understanding potency as the deployment of a counter-power (even a dual power). And, finally, the affirmation and introduction of a different kind of power: common invention against expropriation, collective enjoyment against privatization, and the expansion of what we desire as possible here and now” (Gago, 2019).
So, what amazes us? Which is the power of wonder, and where is it found? What does it mean to be able to be amazed? The invention of wonder in times of narrative homogeneity, chromatic fundamentalisms and silent becomings.
This second axis strengthens the method, oriented toward the materiality of flows and of emerging, transdisciplinary practices that visualize, design and imagine the power of wonder through dialogue between science, art, technologies and nature, through the fusion of materials and methodologies.
River Diplomacy: What might it take to try to respond in a way that is not savage? asks Paz Peña in her book Tecnologías para un planeta en llamas (2023), faced with the ethical-political imperative before the new isms. The third channel is a manifesto about all of us, one river.
At a time when multilateralism has reached an epochal standstill, cities, proximity, bridges and flows are more relevant than ever. So, futures?
Futures are representations of what is to come that compete, updating themselves in the present in order to be completed both materially and culturally. Each carries implicit, more or less specific conceptions of what it means to be human, nature, development, justice, wealth and life (Belsunces, 2020). Once again, the competition over the times of some, others, all. Finally, what room is left, then, to imagine what is and what we can imagine as river diplomacy? A diplomacy that is reliable, simple, sustainable yet disruptive. Rivers have been landscapes of disputes, demarcations, migrations, refuge, calm, flooding, plunder, subjects of rights, objects of cooperation, narrative spoils. In this third channel we invite you to be part of an amphibious community in which to discover together different possibilities and zones of collaboration could it be that the winning algorithm means, once again, that collaborating is a leap of courage? What cooperative itinerary will the river enable as subject, landscape and archive?
ZONES as Dimensions and modality of the proposals
Format/Techniques: Bioart, artivism, data activism, urban interventions, artifacts (made of algorithms, images, sounds, textiles, texts), hybrid (digital-physical) infrastructures, participatory contemporary artworks, textile art, photography, night photography, data journalism, digital art, performances.
Requirements: proposals for this axis may be submitted individually or as a group. Group proposals must include at least one scientist, one artist and one technologist, or at minimum one artist and one scientist, or one scientist and one technologist.
Prototypes and/or proposal abstracts will be selected through a collective peer-review curatorship —local thematic referents— taking into account criteria of quality and relevance of the proposal to the Curatorial Axes, conceptual and technical aspects, as well as maintaining balance in terms of nationality and diversity. Preference will also be given to group works and/or proposals with a multi-stakeholder, transdisciplinary composition.
Works selected and exhibited during the Biennial may be considered by the Biennial jury and therefore be eligible for awards and/or certifications.
Format/Techniques: Talks, conversations and dialogues.
Requirements: conversation proposals for the Biennial foster spaces based on talks that promote science communication and outreach, and the participation of activists, organizations, artists and cultural managers. They will be peer-reviewed according to criteria of relevance, diversity and quality. Sessions in this axis last two hours and may include a maximum of two people.
Panels, papers or conference-like formats will not be accepted. (See Side Events)
Formats/Techniques: Labs, hands-on workshops, walks, data sprints, edit-a-thons, design clubs, pop-up and traveling training sessions, workshops.
Requirements: proposals may be submitted individually or as a group. Group proposals must have a diverse, interdisciplinary composition.
Proposals must be in person.
Proposals will be selected through peer-review curatorship, taking into account criteria of quality and relevance of the proposal to conceptual and practical aspects, and balance in terms of affiliation, nationality and diversity.
Formats: Festivals, Symposia, Network Meetings, Intergovernmental and multilateral meetings.
Requirements: proposals must be international events that promote meetings tourism in the city of Rosario, on topics and agendas relevant to the global scene and to regional public agendas.
Established events in the city that wish to adapt their schedule and agenda in light of the international event may also submit proposals.
Open
Open spaces for prototyping, experimentation and training. Rolling submissions. First phase closes: November 23, 2026. Second phase closes: December 31, 2026.
Open
Talks on the agendas that run through the Biennial. First phase closes: November 23, 2026. Second phase closes: December 31, 2026.
Upcoming
Works, installations and artifacts distributed across the city’s venues, including proposals co-created with other cities.
Upcoming
Coordination between artists, cultural managers and institutions to agree on acquisitions, loans, curatorships and shared calls.
Upcoming
The team that welcomes, guides, translates and tells the story. Includes prior training.
The most common questions are answered in Frequently Asked Questions. If yours isn’t there, write to us.