In Untitled (The Remake), 2007, Tsivopoulos turns to archive material from the years of the 1967 dictatorship and the early years of Greek State Television. He organises the artwork on three levels: on the first level, he employs material from the official celebrations of the Colonels and festivities in the Athens Marble Stadium. On a second level, he shoots the technical equipment then used in the Hellenic Radio television (ERT) studios for the production of news bulletins. Finally, on a third level he elaborates on some sequences that have been saved from the rehearsals of news bulletin broadcasters of the period and stages a precise appropriation with the use of actors. Such a triple structure attributes multiple meanings to the title: Remake. On the one hand, it is a rethinking on the possibility of the reconstruction of reality and the fundamental role technique plays in this process. On the other, it is a comment on the propaganda mechanisms of the regime and the reversed, from the supposedly existing, association between reality and its documentation in the news. What is more, the title Remake highlights the deep roots of contemporary political, television discourse in the typology, clichés and ideologies of the dictatorship era.