Introduction
At EAC in Montevideo, five artists juxtaposed AI interaction, CGI and archival installations to examine errors, power and representation. Their production methods are distinguished rather than labelling the whole exhibition AI-generated.
Why this entry remains in the timeline
Brings generative systems and regional histories of representation into a shared curatorial frame while preserving distinctions between media.
Archive editorial judgment based on the cited sources; this does not establish global priority.
View full image ↗Entrance to Irreverencias, from MACMO’s gallery for the 2025 exhibition. The exact photographic date is unstated and is not inferred from the directory name.
Source: MACMO exhibition gallery; no separate photographer credit found for this image. · Artwork and photographic rights remain with their holders; the source link does not imply an open licence.
Source · MACMO: Irreverencias exhibition record ↗RESEARCH ACCOUNT
Making the material and political conditions of systems visible
ANTI-AI ARCHIVE · Revised 2026-10-16
Distinguishing methods
MACMO dates the exhibition to 2 April–22 June 2025. Its catalogue distinguishes Amaral’s simulated neural-network conversations, Monzillo’s vocabulary exchanges with AI, and Levy’s multiscreen CGI, motion capture and recorded voices. Participation does not imply use of a shared technology.
Section sources: MACMO exhibition and work catalogue
Regional images and national narratives
Foglino examines national representation through a wooden horse, prisoners’ photographs, painted figures and older films. Código rural juxtaposes police portraits with Blanes’s gauchos; the paired Gurí screens compare differently cast versions of a film. An analogy with face swapping does not establish generative processing.
Section sources: Fernando Foglino: works and exhibition account
Provocation as a curatorial method
Adler frames deliberate errors, concealed production and reworked vocabularies as challenges to technological conventions. Editorial interpretation: the exhibition connects critical AI practice with regional visual memory rather than demonstrating one model’s capabilities. Its curatorial argument is an object of research, not proof of system transparency or social impact.
Section sources: Jazmín Adler’s curatorial statement
Sources for this account
Dates, artists, media descriptions and installation gallery; full text read.
Lines 44–51: year, venue, participants and curatorial position.
Media, archival images and the 2025 EAC exhibition record; films not viewed.
Live interactions and complete films were not experienced; model versions, data permissions and effectiveness were not audited. Dates and media rely on institutional and author records. The relation to Desvíos is unresolved, so projects are not merged. The artist page’s 1886/1986 discrepancy for Frac remains pending. The photograph shows visible display, not algorithmic operation. The account and translation are AI-assisted, pending independent human review. Section references identify evidence without claiming independent verification of every historical statement.
Continue with a comparative question
Compare how art organises dialogue, refusal and misrecognition with machines.
Dates & version record
Date displayed for this node: 2 April–22 June 2025 · Historical date recorded for the source: 2025-04-02/2025-06-22
Exhibition dates listed by MACMO for EAC; the artist and curator also record the 2025 exhibition. Web publication is unknown and is not inferred from image-directory paths.
These dates refer to the historical event or recorded version, not this page’s publication date. The original date precision and unresolved questions are retained.
Original sources & further reading
These links lead to the cited paper, article, institution or conference page. External texts retain their source languages.
Irreverencias. Una provocación a la inteligencia artificial
https://www.macmo.uy/actividades/irreverencias-una-provocacion-a-la-inteligencia-artificial/
Current cited URL
Irreverencias. Una provocación a la inteligencia artificial
https://jazminadler.com.ar/2022-dislocaciones-ejercicios-de-recomposicion-2/
URL cited in a research master or supplement; it may have moved or expired
La patria se hizo a caballete
https://www.foglino.me/patria/
URL cited in a research master or supplement; it may have moved or expired
Institutional catalogue, curatorial statement and artist account read; linked to case-0274, evt-0467 and src-1200–src-1203. Technical and rights claims are not independently audited; the Chinese title is provisional.
Related archive records
Read the related case and research context ↗
Read the event, dates and evidence ↗
Provenance, translation & verification
Timeline entry #277 · Exhibition and critical artistic practice
Research materials & supplement references · 3
Historical accessions, 16 October 2026 · Dates, artists, media descriptions and installation gallery; full text read. · 001
Date as recorded: 2025
MACMO exhibition and work catalogue ↗
Irreverencias. Una provocación a la inteligencia artificial
Historical accessions, 16 October 2026 · Lines 44–51: year, venue, participants and curatorial position. · curator
Date as recorded: 2025
Jazmín Adler’s curatorial statement ↗
Irreverencias. Una provocación a la inteligencia artificial
Historical accessions, 16 October 2026 · Media, archival images and the 2025 EAC exhibition record; films not viewed. · artist
Date as recorded: 2025
Fernando Foglino: works and exhibition account ↗
La patria se hizo a caballete
Archive account based on the listed research materials, not a full translation of the linked work. AI-assisted translation; independent human review pending.
Official material was read within the stated scope; see the source note for reading limits and outstanding checks.
Cite this node
ANTI-AI ARCHIVE. Irreverencias: A Provocation to Artificial Intelligence. Art-history node #277. https://salondesrefuses.cn/en/art-history/362
For specific historical claims, also cite the original sources above and include your access date. This account is not a full translation of the linked work.
Adjacent nodes follow chronological order; adjacency does not establish direct influence or causation.