In this fragmented landscape, reports on major geopolitical events—decolonization, the Vietnam War, May ’68, the Prague Spring—appear side by side with promotions for a Citroën DS, an electric razor, or a vacuum cleaner. The faces of political leaders merge with those of movie stars. The boundary between information and communication blurs, and history begins to be written from events whose nature—whether historical fact, marketing, or anecdote—becomes harder to define.
By revisiting the visual allure of a bygone era, AUGURE uses layered imagery to suggest that history—even today—is shaped less by how it is framed than by how it is assembled. A semiotic puzzle, the series invites reading much like the ancient Greek and Roman priests did: as an act of deciphering signs and symbols pulled from the very entrails of the press. |
