CONTRA LA INERCIA AGAINST INERTIA - granada cultura

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Poster for Fantômas (Louis Feuillade, 1913)
(adaptation of an earlier design by Gino Starace for
the original cover of the novel published in 1911)
René Magritte: Le retour de flamme, 1943
oil on canvas, 65 × 50 cm
Paco Pomet: Noir, 2006
oil on canvas, 50 × 50 cm
V. Pomet-Ism
Humour is seeing where everything slips up, where it is ephemeral
and conventional, how it falls into nothingness before it falls, how
it is linked with the absurd, even though it does not believe so, how
it can be something else or some other way, even though it is very
satisfied with itself the way it is.
Ramón Gómez de la Serna, Ismos
A human figure slips down a children’s slide in a
solitary park. There is nothing exceptional in the
scene until we notice the figure’s exact profile – it is
without doubt a high-ranked army officer as shown
by the uniform, military cap, and a certain dignity
and stiffness natural to a position that is utterly refuted
by the scene where it is placed. The piece is
entitled El recreo [Playtime] (2006) [p. 74] and in
a very simple manner brings a smile to the viewer’s
face and completely disarms the idea of authority. In
another more recent canvas, we see a wooden cart
at the door of a freight wagon, just as we imagine
would have been usual when transporting cattle fifty
or sixty years ago. Several well-positioned men are
expectantly watching the imminent appearance of
the cattle, but, what do you think, they are all wearing
mortarboards – the universal symbol of academic
learning and teaching. The title of the piece (Transporting
knowledge, 2011) once again is responsible
for turning our interpretation of the image on its