Propaganda is a sculpture made of VHS tapes piled up on top of each other, creating a sort of black cube. The use of a material becoming obsolete in our digital age questions the expiration of the artwork itself but mostly has to do with a certain idea of the absence of images. Like a Pandora’s box whose secrets are well kept, this dark architecture presents itself like a satellite entity, which is self-sufficient and hard to access, yet remains the main vehicle for information in certain societies. The artist criticizes here a system of secularization and exploitation of images that encourages proselytism and annihilates consciences. How is it possible to construct a society where people would coexist more peacefully with images? Is it unrealistic to believe that an image can still convey meaning when so many different ideologies generate images every day? Finally, what distinguishes information for disinformation? Since “God revealed himself in His word”, religious powers, from the top of their tower of Babel, institutionalize iconoclasm in an era where each of us should have the technical means to become a “homo communicans”. In this interpretation of a radical and religious modus vivendi, every tape is a drawer for a new propagandist doctrine and the entire edifice is implicitly connected to an architecture that must be overthrown in order to begin a true archeology of images.