{"id":32379,"date":"2026-08-28T15:59:40","date_gmt":"2026-08-28T13:59:40","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/true-false\/"},"modified":"2026-10-20T10:41:57","modified_gmt":"2026-10-20T08:41:57","slug":"true-false","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/true-false\/","title":{"rendered":"True \/ False"},"content":{"rendered":"\n
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Romain Tardy, BE<\/sup><\/strong>True \/ False<\/em><\/strong><\/em><\/h2>\n\n\n\n
Immersive digital installation<\/h5>\n<\/div>\n<\/div>\n\n
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A tour of artworks in public spaces as part of the Aix Biennale<\/h5>\n\n\n\n

Friday 30th and Saturday 31st October<\/strong> from 7pm to 11pm <\/p>\n\n\n\n

Terraces of the Grand Th\u00e9\u00e2tre de Provence<\/strong>Aix-en-Provence<\/p>\n\n\n\n

Legal Notices<\/summary>\n

A CHRONIQUES CR\u00c9ATIONS Platform project.<\/strong>Sound design: Before Tigers.Co-production: Stereolux, L\u2019Hexagone Sc\u00e8ne nationale Arts Sciences \u2013 Meylan. With the support of Wallonie-Bruxelles International, the Centre WallonieBruxelles Paris and CHRONIQUES, the regional centre for digital environment creation \u2013 SUD Region \u2013 Provence-Alpes-C\u00f4te-d\u2019Azur, as part of the Biennale des Imaginaires Num\u00e9riques. <\/p>\n<\/details>\n\n\n\n

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5 modular micro-architectures \u00b7 57 RGB LED tubes \u00b7 15 LED screens \u00b7 spatialised soundVideos generated by artificial intelligenceSound design: Before Tigers<\/h5>\n\n\n\n

Media perspective<\/strong><\/p>\n\n\n\n

True \/ False explores the mechanisms that lead us to believe a piece of information. In this age of constant information flow, it is no longer simply a matter of distinguishing truth from falsehood, but of understanding why certain pieces of information seem credible to us even before they have been verified. <\/p>\n\n\n\n

L\u2019installation diffuse en continu des informations authentiques et des fake news ayant r\u00e9ellement circul\u00e9 dans les m\u00e9dias avant d\u2019\u00eatre d\u00e9menties. Pr\u00e9sent\u00e9es selon les m\u00eames codes, elles deviennent indiscernables : rien, dans leur apparence, ne permet de les diff\u00e9rencier. <\/p>\n\n\n\n

They are broadcast by a fictional media outlet \u2013 with no name or country \u2013 which takes the familiar form of a television news programme. From one segment to the next, it shifts between different eras, languages and continents. The same piece of news thus seems to pass from one channel to another, much like a rumour spreading across the world. <\/p>\n\n\n\n

Faces, sets, voices and opening credits are generated by artificial intelligence: not to make AI the subject of the work, but to construct a plausible media organisation devoid of its own identity \u2014 an area in which AI excels. The content itself is based on real events: it is the way it is presented that is fabricated, in order to restore the credibility that the fake news may have enjoyed. <\/p>\n\n\n\n

Spatial perspective<\/strong><\/p>\n\n\n\n

The five micro-architectures form a sculptural landscape based on the principle of anamorphosis. From within the installation, the forms appear scattered. But from certain vantage points, they align to reveal the words \u2018TRUE\u2019 or \u2018FALSE\u2019. Perception then becomes a matter of position, distance and perspective. <\/p>\n\n\n\n

This binary opposition is deliberate. Yet between truth and falsehood lies a whole spectrum of nuances: uncertainty, interpretation, omission or distortion. By reducing this complexity to two categories, the work highlights the fragility of our certainties and the mechanisms that shape our judgement. <\/p>\n\n\n\n

Immersed in the midst of a stream that cannot be taken in at a single glance, the visitor must move around to find the vantage point from which the words appear. But this revelation, which suddenly seems to make sense, is itself constructed by the installation. <\/p>\n\n\n\n

Going beyond the question \u2018Is it true?\u2019, True \/ False<\/em> thus raises a more fundamental question: what makes us believe, and how can we understand what lies between these two extremes?<\/p>\n<\/div>\n<\/div>\n\n

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Romain Tardy<\/h2>\n
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Romain Tardy has been working in the field of contemporary visual creation since 2008. His work, developed as a series of poetic experiences using light, video mapping, objects and sound, can often be found in numerous countries around the world. The matter of our relationship with technology as well as the bearing it has on our society are at the heart of his work. That said, Romain Tardy refutes the \u201cdigital art\u201d tag\u2014his first goal is to create tangible artworks and physical offline experiences in which the screen is never the limit.<\/span><\/p>\n<\/div>\n <\/div>\n\n <\/div>\n\n\n<\/div><\/div>\n","protected":false},"featured_media":0,"menu_order":0,"template":"","edition":[140],"type_oeuvre":[28,136],"class_list":["post-32379","oeuvre","type-oeuvre","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/32379","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=32379"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=32379"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=32379"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}