The author analyzes three 1980s video works by Argentinian pioneer artist Carlos Trilnick (1957–2020), whose insubordinate interventions with image-processing tools served the purpose of a reflection upon time, challenging traditional narratives of sequentiality, segmentation, and cause-effect linearity. These video works display a virtuous interconnection of art and technology, built upon a solid politica perspective on audiovisual representation, art history, and territorial disputes. Acknowledging the work of this artist contributes to the expansion of global dialogues about the use of image-processing tools, incorporating Latin America into traditional narratives dominated by Europe-U.S. exchanges.

The author analyzes three 1980s video works by Argentinian pioneer artist Carlos Trilnick (1957-2020), whose insubordinate interventions with image-processing tools served the purpose of a reflection upon time, challenging traditional narratives of sequentiality, segmentation, and cause-effect linearity. These video works display a virtuous interconnection of art and technology, built upon a solid political perspective on audiovisual representation, art history, and territorial disputes. Acknowledging the work of this artist contributes to the expansion of global dialogues about the use of image-processing tools, incorporating Latin America into traditional narratives dominated by Europe-US exchanges.