THE END OF THE DAYDREAM153tude: a juxtaposition typical of repetition—but if Magritte proposed a double
troubling of realism, Horn proposes a multiplication that further challenges
the viewer to provide resolution: a trebling of realism.^49
At this stage, it is worth examining more closely the dynamics at play in
the realist entanglements proposed by Horn. As seen earlier in this chap-
ter, resemblance essentially is the representational paradigm governing
classical art. It is the hierarchical ordering agent that capitalizes on realis-
tic representation. It connects what is painted on the canvas to the real
world. Similitude, a modern phenomenon grounded in the multiplication
of images proposed by photography, is the domain of the simulacrum: “the
copy of the copy without original” that attracted the attention of Lyotard. In
Magritte’s work, and by extension in Horn’s, it is the interplay of similitude
and resemblance that problematizes the image, causing a short-circuiting
of the anthropocentrism inherent to affirmative images.
The ontological mobility initiated by Horn is therefore triggered by the
intrusion of similitude in the realism of resemblance: the multiplication
FIGURE 4.5 René Magritte, Les Deux Mysteres (The Two Mysteries), 1966. Oil on
canvas. 65 × 80 cm. Private collection. © ARS, New York.