Another set of texts, this time materialised by the action of the acid on the aluminium, are arranged, in the form of a diagram, over the purple texts and images. These texts, recurrent and already distinctive in Franco's work, correspond to annotations describing film sequences from different sources: "Full shot of men advance in shallow waters on a beach in Congo", "Slow motion of farmer with rope", "Fixed shot of women towed behing a draught animal". These phrases - which are also images - come from two bodies of work: descriptions of films made by the English army in their campaigns in Africa during the first half of the 20th century and descriptions of sequences from the video La Imagen y Su doble made by Franco in 2015, which consisted of making a copy of the film Las Hurdes by Luis Buñuel entirely with appropriate material from Youtube.

orking with the layout of texts and photos, with the direction of the words, with the order of the images, constitutes the space of intervention that the artist assigns himself to manipulate his material. His practice, of course, is that of photomontage, but his work points to the very materiality of the page, particularly the grid. Franco then, evidences the discursive nature of the editing processes and with it the poetic and discursive possibilities of the printed page.

As in other works by Nicolás Franco, photographs and texts summon up realities distant in time and space. It is no coincidence to use the term convocan, with its almost shamanic resonance, because in this work the words are superimposed on images dedicated to African art and Italian erotic cinema of the 1960s. To a certain extent, the physical proximity of the two iconographies serves to show how far apart they are.

These works were born to satisfy needs, which have little to do with erudite discourse; they are, on the contrary, a group of objects which are governed by emotion and intiution and which aim to prevent the reception of the work from resting on the reception of the work from resting on prior certainties. They seek to create a kind of resistance to reading, to postpone it and to make the elements we take for granted in the construction of those meanings appear.