Transient Info – The Wrong

In Transient Info, Kantfish reflects on the real and the More Than Real dimensions of his vision of the contemporary world and its projected futures. His work emerges from the intersection of photography, proprietary digital processes, and various models of artificial intelligence. Each image is born from a dialogue between the human and the algorithmic — where the machine does not replace, but amplifies, the artist’s critical gaze.

Kantfish transforms his experience as an artist, reporter, screenwriter, and director into a visual exploration of the boundary between perception and reality.

This exhibition brings together concepts from the series ¡¿SUCCESS!? and Post-Humanism – Metrópolis, establishing a dialogue between ethical reflection and perceptual exploration.

The artworks presented in Transient Info, at The Wrong Biennale, arise from a shared necessity: to understand and reinterpret our nature immersed in the time we inhabit. A time in which we are already aware of a fragmented reality — one that explodes under an excess of information, while human consciousness seems to demand a new framework for understanding.

Reality is multiple, unstable, and still disconcerting.

Success — that central word of the contemporary world — is gradually ceasing to mean what it once did.

Between the documentary and the imaginary, between the human and the artificial, a territory emerges where everything blurs: progress and emptiness, truth and perception, city and mirror.

This project unfolds as a cross-disciplinary exploration in which photography, artificial intelligence, digital art, cinema, and philosophical thought intertwine to create an experience of reflection and uncertainty.

The artworks — landscapes, bodies, symbols, architectures, fragments — compose an emotional cartography of the present: a landscape where details reveal a chaos of information, anxiety, and desire.

Cities become canvases; everyday gestures turn into rituals of meaning.

In this fusion of the visible and the intangible, each image becomes a multiplier of perspectives.

Heisenberg’s uncertainty principle suggests it: we can never define a phenomenon from a single point of view. It is within that impossibility that the fertile ground of consciousness is born.

These works do not aim to represent, but to reinterpret.

They offer no answers, only fissures from which to think.