CONTRA LA INERCIA AGAINST INERTIA - granada cultura

(28) Op. cit., p. 38.
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harvester that Pomet painted in Colonos (2006), but
this other promised land – cold, grey, totally sterile
and lost in the interstellar night – can only symbolize
the existential absurd and the helplessness of everyman
in the face of the promises that Debord’s society
of spectacle ceaselessly sends out from every corner
through images of no substance.
VIII. aGaInst InertIa
I am interested in what makes us stop and look, as opposed to the
mere passive consumption of images. If there is anything political
in my work, it must be sought in the capacity of my images to
question the nature of imagery itself. The better we are able to read
images and understand how they operate in our culture, the greater
will our individual capacity to act be.
John Baldessari
Debord stated, “The spectacle is not a set of images,
but a social relation between persons influenced
by images.” 28 So that when the media whirlwind in
which we live conditions our position and our individual
capacity to act through the broadcasting of images
and discourses doctored to the limits of passive,
hypertrophied virtualisation, Painting (in capitals,
with all the weight of a medium heavy with an enormous
legacy, but also in possession of an inexhaustible
capacity to respond at each moment to innumer-
Paco Pomet: Mondragón, 2006
charcoal on canvas, 40 × 50 cm
able artistic demands) appears as a rather more than
suitable tool to slow down, rethink and re-create the
flow of images that intervene in what is real, thereby
managing to conclude a path leading from the anecdotal
and singular to the universal. As suggested earlier,
Paco Pomet’s work contains a reply to the established
inertia, but his scepticism does not respond to
the type of strictly political positions that only serve
to decrease the potential of a discourse with humanist
roots that goes beyond labels and cultural frontiers
precisely because it expressly delegates part of the
process of reception to the viewer.