CONTRA LA INERCIA AGAINST INERTIA - granada cultura

(27) Guy Debord. La sociedad del
espectáculo. Valencia: Pre-Textos, 1999.
p. 147.
152
wiped away in one blow, leaving us only two prototypes
of masculine desire typical of the consumer
society – the car as the expression of social status,
adventure and arrogance, and the woman fitting
the erotic stereotype that instrumentalizes her as a
commercial lure.
The role played by the automobile in Pomet’s work
is very varied and at times extremely cryptic – cars
often appear cut in half like slabs of butter (Bisagras,
2004; Border, 2008: The resurrection, 2011), abandoned
on empty lots (Resurrección, 2006 [p. 49]), or
partially covered by unreal coloured stripes (Matchbox,
2003; Untitled, 2009). However, Pomet’s fascination
with cars as eye-catching carcases does not
prevent criticism. In Autobank (2010) [p. 56] the car
has enslaved its owner, converting him into a sort
of tubular appendix with sufficient freedom to make
use of what seems to be an ATM; in Éxodo (2008)
[p. 62] the idea of moving traffic takes on a surreal
dimension, with the two lanes of a broad avenue
leading in the same direction, with rigid mirror-like
symmetry and no possibility for disagreement, probably
in allusion to the uniform mobile migrations at
holiday time. In Mustang (2009) [p. 59] Pomet ties
in the mythology of the automobile with the imagery
of the conquest of the West by showing a stagecoach
tuned like a modern sportscar. “The present moment
Paco Pomet: El siglo XX, 2007
oil on canvas, 50 × 70 cm
is already that of the self-destruction of the urban
environment,” Debord wrote in 1967, as is still true,
“the explosion of cities over the countryside, covered
by amorphous masses of urban waste (Lewis Mumford)
is presided over by the immediate imperatives
of consumerism. The dictatorship of the automobile,
pilot-product of the first phase of commercial abundance,
imposes itself on the land through the dominion
of the motorway, which disjoints old town centres
and sets in motion an eve-increasing dispersion.” 27
Workspaces also respond to the American stereotype
of the classic office, like the perfect, demented office