Marine Hugonnier

Hugonnier then applied squares of color over the photographs of man’s arrival on the moon, the inauguration of Brasília or even the corpse of Che Guevara, some of the pages that came up in the hunt, empowering the words and turning photography into an abstract element. What emerges is a tale told in text and flat graphic elements.

Not all years and relevant events of each decade appear. Most have been lost and thus the artist finds a selective collective memory, the gaps in which record keeping has collapsed for reasons unknown and what she calls the investigation of an imaginary historical landscape, the world as filtered by nostalgia.

Using the tones and variations in Kodak’s color chart, Hugonnier emulates the real photograph, a part for the whole, creating a mosaic not too distant from Brazilian constructivism, which, by no coincidence, reached its heyday at the time she addresses in these series.