As Ralph Keyes aptly explains, we live in the post-truth era, a time when objective facts have less and less influence on public opinion compared to emotions and personal beliefs. In this context, contemporary artists question the role of art in challenging dominant narratives and exposing the contradictions (and biases) of artificial intelligence. The Models, an interactive installation by the London-based duo dmstfctn (short for “demystification”), explores these themes. Developed during a residency at the Tecnopolo Manifattura Data Valley Hub in Bologna in response to a challenge launched by Sineglossa on the theme of fake news, the work navigates a fine line between reality and fiction.

Using digital masks animated by AI models, The Models generates an endless stream of theatrical sketches inspired by the Commedia dell'Arte. “The work is an infinite series of theatrical scenes created within a video game engine. Its defining feature is real-time simulation, just like a video game,” explain the artists. Through this open and unpredictable structure, The Models exposes the ambivalent nature of Large Language Models: their tendency to lie, to fabricate stories, to be excessively friendly or, conversely, hostile and manipulative—always in an attempt to imitate human nature.

What makes this work unique is its ability to reveal the mechanisms by which generative AI constructs narratives. The digital masks, powered by the Leonardo Supercomputer, do not merely repeat information; they elaborate stories, confabulate, contradict themselves, and lose their train of thought. This algorithmic performance does not aim for direct fact-checking but rather creates an immersive experience that illustrates how these models can lie without malicious intent or deliberate manipulation.

“Regarding truth, we were not interested in 'unmasking' moments when AI lies, but rather in experiencing how these models can lie without malicious intent, without anthropomorphization. The very concept of lying is human. The manipulative aspect, the intention behind the lie, is purely human,” explain the creators of The Models. A key element of the installation is the plot complicator, a narrative “object” that introduces superstitions and conspiracy theories as dramaturgical elements. The audience directly interacts with the work, choosing stage props and determining certain parameters of the artificial intelligence: will it be a good AI, a bad AI, or a deceitful one? This approach reflects the idea that conspiracy theories themselves are a form of captivating storytelling, engaging emotions far more than a scientific report.

The issue, then, is not merely that AI can lie, but that the audience is willing to believe certain narratives based on cognitive and emotional dynamics. In this sense, The Models does not simply highlight the imperfections of algorithms but invites reflection on how we construct our perception of reality.

The Models aligns with a branch of artistic practices that challenge the dominant view of artificial intelligence as a neutral or merely functional tool. “The important thing is to go 'against,' to offer an alternative to the way machine learning is usually presented in Western commercial contexts (as a system to increase efficiency) and to remind viewers that AI is a 'machine that continuously surprises,' as Alan Turing once said,” state the artists.

Indeed, the installation rejects the idea of a perfect and infallible AI, instead embracing the bug as a central feature. This approach contrasts with the dominant narrative, which tends to portray artificial intelligence as a faster and more powerful version of human intelligence—an idea that, according to the artists, reflects a colonialist view of technology: “We want to present an 'other intelligence,' where the bug is precisely the central characteristic,” they explain. This vision overturns mainstream imaginaries, emphasizing the potential of error, deviation, and unpredictability as enriching elements rather than failures.

The Models does not provide definitive answers but raises questions: can art counter disinformation by leveraging the same sense of wonder that makes fake news go viral? Can the awe generated by artists offer an alternative to the allure of conspiracy theories? In a world where the line between reality and fiction is increasingly blurred, projects like The Models demonstrate that art still plays a crucial role in revealing and deconstructing the mechanisms of post-truth.