It could even be at a level that he isn’t aware of. Undoubtedly, Nahuel comes from a wise exegete of his time. Icons, which when jumbled together in that insane overlapping, warn us of a clear saturation of their hermeneutical limits. He also supports a very personal change, susceptible to brands and symptoms that strip away their subjectivity.” I might add his furious relational and irregular capacity to get a mass army of icons to coexist in a single epicenter. He loves recycling, pastiche, quotes, homage, parodies, ambiguity, and the game. Nahuel sympathizes with the discursive strategies of post-modern art. The references live there with the force and promiscuity of an orgy. In the very promiscuous space of Facebook, the young Cuban critic, Rubens Riol, commented that, “hands down, Nahuel’s repertoire of work is palimpsestic and highly dense culturally speaking. From there, in part, it is expressed (without really saying it) in a defense on post-modern discursive strategies and the very typical cannibal operations within that new knowledge. Nahuel’s work is a testament to the crisis of the modern model and validates the demise of those avant-garde ideals hijacked by the narcissistic tyranny of the original and unique piece. A world that he –the cat– sees as prey, as food, as an ongoing challenge. The same strike that this artist executes in regards to the visual world that surrounds him, his iconographic capital. A cat, among other big cats, which always executes a difficult, surgical, and clean strike. The jaguar is that big cat which stealthily observes, which is hidden among the weeds while flaunting the patience to deliver a deadly attack. The jaguar is a symbol for transvestism, concealment, mimesis, “camouflage”, and astuteness. According to some translations, it means “jaguar”. A name that shows his roots to the Mapuche tribe, also called the “Araucanos” by the Spanish in the phallocentric and expansive days of the Conquistadors. His name, I insist, was the first announcement of that (ill)mannered irreverence, that predatory cannibalism, that reactionary position facing the possibility of one –and only one– interpretation of the sign. Without knowing it, of course, his name has already announced what would represent a journey through worlds of iconography and its disobedient, irreverent, orgiastic use. That which endangers us all and the threat of its traps and jugglery. Sometimes, chance has a lot to do with the context of our lives and, above all, with its metaphoric preconceptions, its touch of tango and bolero. Coincidence, perhaps a whim, which is hair-raising or at the least disturbing. There is a strange coincidence between his work, name and the fur of the jaguar.
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