Carlos Nader | Auto

Every perception emerges from a mechanism that reveals itself as a circular process when one ponders its interrelations: the interpretation process of an artwork consists in a way of apprehending the ordinary that is revealed in the expression of the individual creative act, since each individuality carries with it something of the others; as in a divination process of someone’s peculiarity in relation to the community. The “method” of comprehending will bear in mind both the ordinary –by comparison- and the peculiar –by divination-, that is, it will be both comparative and divinatory. In either sense it will remain, however, 'art'; because it cannot be mechanized as an application of rules. The divinatory will remain indispensable.

In this way, comprehending lies both in a re-creative process, in the sense that it reproduces the individual’s creation act, and in a process of establishing an empathetic collaboration in the poetic instant of creation. According to Emerich Coreth, comprehending is an identification act between the author and the interpreter, in which de latter, in his/her interpretative reconstruction, must be able to comprehend the author better than himself/herself.

In a certain way, there is a relationship between author and interpreter in Carlos Nader’s “Auto” exhibition. Not in the sole sense of artistic creation, but rather in the coexistence and a father’s intimate and deep understanding of the way that his son, autism bearer, sees the world. Carlos understands from Teo’s experiences that life is essentially plastic, a constant fruition of images, sounds, scents, movements and rhythms and, re-creates the world from his eyes.

In practice the boy’s enchantment by the rain running down a glass skylight and reflecting a video image served, for example, as a basis for the creation of the installation Meu Amor É Cachoeira (My Love Is a Waterfall) (2017). The translucent screen that guarded and protected Teo from the storms metamorphoses itself into a projection holder for video and water.

On the other hand, Espaço Tempo (Space Time) (2017) mimics the way the teenager watches the same movies daily for the past 17 years in different screens, in the attempt of absorbing them frame by frame. In the exhibited artwork, one of the screens displays in a loop 8 seconds of a rocket launching, while another screen is divided in 240 parts to show each frame of the video simultaneously.

At the same time as it deals with the circularity and cinematographic fascination of life, the exhibition reveals it from a singular vision, loaded with unimaginable sensations, which alter the spectator’s awareness of time, speed, landscape and selfness. “Auto” breaks the dichotomy between subjective and objective, inner and outer, past and present, leading us to a lost consciousness between nature and culture.

Curator: Paulo Kassab Jr.