“Truth” (2011) utilizes the most elements of abstraction. A series composed of videos and photographs depicting a group of cameramen, photographers and correspondents as a group within a derivative (reproduced, copied, secondary…) choreography evoking contemporary media, are all familiar. This army of media, whose purpose is ambiguous, calls to mind the mechanized world of politics, art, and sport which reproduces itself so long as it creates scandals. The endless running-and-chasing relationship between the machine and the social concern and agenda is abstracted in an atemporal, spaceless, and unmarked language of theatricality.