CONTRA LA INERCIA AGAINST INERTIA - granada cultura

Corpus Christi Festival 1979:
Gigantes and Cabezudos Parade.
Granada Municipal Archive
Paco Pomet: Los últimos días, 2007
oil on canvas, 200 × 200 cm
international scene, and Ángel Mateo Charris and
his colleague Santiago Ydáñez in Spain and Granada.
Likewise, we should take into account his tireless interest
in the cinema, in the phenomena of the circus
and in bodily deformities (Delantera, 2004 [p. 90]),
as well as certain popular spectacles such as the
carnival, and the traditional procession of Gigantes y
Cabezudos that accompanies the Tarasca during the
Corpus Christi celebrations in Granada. However, it
is also the case that animated cartoons, most particularly
those produced at factories such as the above,
constitute a genre widely affected by avant-garde
movements such as Expressionism and Surrealism,
with which Pomet’s work has such close links, as we
have seen, although not, of course, by their attitudes
to political and moral reform.
The fact is also that Surrealism anticipated Pop Art
and the postmodern trend in its repeated immersions
in popular culture. The canvas entitled Noir (2006)
[p. 64] could well be a conscious or unconscious
reinterpretation as film noir of Magritte’s Le retour
de la flamme (1943), in which the Belgian artist paid
homage to the cover designed by Gino Starace for
the first edition of Fantômas (1911), who was the
evil protagonist of a very popular series of detective
novels adapted to film with even more success by
Louis Feuillade in 1913-1914.
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