{"id":32418,"date":"2026-06-10T18:36:40","date_gmt":"2026-06-10T16:36:40","guid":{"rendered":"https:\/\/chroniques-biennale.org\/oeuvre\/linked-language-models\/"},"modified":"2026-10-12T11:35:41","modified_gmt":"2026-10-12T09:35:41","slug":"linked-language-models","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/linked-language-models\/","title":{"rendered":"Linked language models"},"content":{"rendered":"\n
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Olivain Porry
Language models<\/em><\/em><\/h2>\n\n\n\n
Interactive installation <\/strong><\/h5>\n<\/div>\n<\/div>\n\n\n\n
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<\/a>Exhibition \u201c Fabulations \u2014 Reclaiming Our Voices, Reinventing Language<\/strong> \u201d<\/strong><\/strong><\/a><\/h5>\n\n\n\n

October 30 through January 17, 2027<\/strong>
Wednesday through Sunday, 11:30 a.m. to 6:30 p.m.<\/p>\n\n\n\n

21 bis Mirabeau – Departmental Cultural Center<\/a><\/strong>
Aix-en-Provence<\/p>\n\n\n\n

Credits<\/summary>\n

A CHRONIQUES CR\u00c9ATIONS platform project.
<\/strong>Co-produced by Quai des Savoirs and Toulouse M\u00e9tropole, in collaboration with CHRONIQUES\u2014the regional hub for digital creation\u2014and the PACA Region \u2013 Provence-Alpes-C\u00f4te-d\u2019Azur, for the Biennale des Imaginaires Num\u00e9riques.<\/p>\n<\/details>\n\n\n\n

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“Lies Language Models<\/em> ” is a collective-style installation featuring five AI agents that describe what they see\u2014the public space\u2014but lie in the descriptions they display on their e-paper screens. By applying documented strategies for misleading the models, each agent generates false descriptions that all the others will gradually come to believe. An exploration of the operativity of writing in the age of AI, the project seeks to introduce confusion into the models and presents unreal images through an unstable, operative form of writing. In the space saturated with narratives produced by machines, Lies Language Models<\/em> employs lies as a critical and poetic tactic of sabotage. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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Olivain Porry<\/h2>\n
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Olivain Porry is an artist and a SACRe doctoral candidate at the EnsadLab research laboratory of the \u00c9cole nationale sup\u00e9rieure des Arts D\u00e9coratifs. By repurposing existing objects and technologies, his work explores the roles of both the viewer and the creator, the subject and the object. He explores the relationships between humans and machines through the connections that form between the audience, the artwork, and the environment. From 2019 to 2022, he is conducting his doctoral thesis on the form of robot collectives as a modality of artistic practice. His ongoing research, which includes the \u201cLies Language Models\u201d project, focuses on the operativity and interactivity of writing in the age of large language models. In 2024, he co-founded \u00c9ditions du Respirateur and published \u201cArafed Dictionary,\u201d a dictionary in the form of data poisoning; he then embarked, with the \u201cSynthetic Syncretism\u201d project during a residency at the Villa Albertine (2026), a project on artificial creolization in dialogues between AI systems. Olivain\u2019s writings on the modalities of artistic practices through the lens of contemporary technologies have been published in several academic journals and books. His work is recognized for its innovative approach; he has won awards such as the Pulsar Prize (2018), as well as grants from institutional calls for proposals. He has contributed to various research projects and exhibitions in France, the United States, and Sweden, notably at the Mus\u00e9e des Arts et M\u00e9tiers, the Ga\u00eet\u00e9 Lyrique, the Centre Wallonie-Bruxelles, and the Maison des M\u00e9tallos, and is currently represented by the Avant-galerie Vossen in Paris. <\/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":[28,95],"class_list":["post-32418","oeuvre","type-oeuvre","status-publish","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/32418","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=32418"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=32418"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=32418"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}