CONTRA LA INERCIA AGAINST INERTIA - granada cultura

(7) See René Magritte. La fidelidad de las
imágenes: René Magritte y la fotografía:
Palacio de la Merced, Córdoba, 8 de enero
a 2 de febrero de 2003. Madrid: Fundación
Carlos de Amberes; Córdoba: Fundación
Provincial de Artes Plásticas Rafael Botí,
2002.
136
René Magritte: Le château des Pyrénées, 1959, oil on canvas, 200,3 × 130,3 cm
Paco Pomet: Defensa, 2001, oil on canvas, 35 × 25 cm
have lost over the last ten years – to such a degree
that he seems to have almost definitively chosen
monochrome, where colour takes on merely symbolic
values far from any traditional conjuring – has
only worked in favour of further investigation into
the ultimate mechanics ruling Magritte’s oeuvre: the
questioning of what is perceptively conventional
and the rarely conscious distance between what is
real and what is represented; questions that here end
up becoming a game involving the notions of reality
and fiction, with the inclusion of Photography
in the creative recipe. Magritte, himself an amateur
photographer that occasionally used Photography
to compose his works 7 , put together a discourse in
the pictorial medium which, in a formally straightforward,
one might almost say demonstrative manner,
presented a totally paradoxical type of images.
Beyond any possible dream-like evocation, these
images challenged the viewer to a sort of exercise of
distancing oneself from the appearances that make
up many of the theoretical foundations of Paco
Pomet’s work.
As the viewer gradually becomes aware that he is
confronted with modified images, he systematically
begins to fence off the decontextualized elements
in each piece, not realizing that on more than one
occasion the absurdity we observe has been methodically
designed, and that the alteration of the image
can ultimately be achieved through elements located
even outside the pictorial surface. This is the case
of works such as Demócratas [Democrats] (2009)
[p. 16] and Los socavonistas [The Hole Diggers]
(2011) [p. 89], images devoid of an incongruence
in themselves, except for that imposed by the title,
this causing a break between what we see and the
meaning that we tend to adjudicate out of pure inertia.
(What sort of democrats must these be that pose,
or have posed, as office workers or scatter-brained