Emilio Nasser (1980), for a historical-political causality was born and lives part of his childhood in Spain.When his parents decide to return to Argentina begins another life of interminable changes.
Study Photography at the School of Arts and Trades Lino Enea Spilimbergo.
He participates of diverse experiences in workshops of photography with Harry Hardie, Juan Valbuena, Martin Parr, Joan Fontcuberta, Roberto Huarcaya, Guadalupe Miles, Marcos Lopez, etc.
He also studies some music and begins the career of anthropology. In parallel, he learns to cook self-taught. Multiplying trades becomes a sailor and continues in nomadic mode on the sea.
During this time he made different journeys, crossing and living in countries such as Mexico, Bolivia, Peru, Paraguay, Brazil, Uruguay, Switzerland, France, Italy, Spain, Portugal, Morocco and Thailand.
Although it seems that the informational reality is always about to collapse and that the world has not more excuses to continue with all its contradictions, continues to find motivations to take pictures and work with images. Urban legends, myths, nomads, oral history, collective memory, facts and fictions, artifices and appearances, blurred identities, common place, not places and some other things that he does not know very well explain in the conscious plane, are some issues with which he has been working in his photographic series.

Emilio Nasser is among the selected lens-based artists that received a special mention in occasion of our issue #11 call for projects, with the series "La Cornuda de Tlacotalpan".

The history of "La Cornuda del Tlacotalpan" is a legend of the town of Tlacotalpan and its river. It does not have an exact date of birth or a definite continuity. Many fishermen have reported that the Cornuda lives under the wharf, where connect tunnels that cross churches and go out to the sea. According to recent descriptions, this entity, a phenomenon, a supernatural animal that habits in the river, has a kind of horns with which it subjects its prey, humans and other animals to take them until they disappear from the surface. In older and rather recent times of the twentieth century, many mothers used this urban legend to warn their children of the dangers lurking in the river. Times have changed and this story has disappeared. When I came to Tlacotalpan and I knew this story, I set out to do an investigation based on stories and drawings that I asked the villagers about how they imagined the Cornuda. Along with this material I decided to extend the myth and I imagined that poor Cornuda was a little tired of being the bad of the movie and being forgotten by the speed of modern time. When you do not believe in something, it ceases to exist. That is why the Cornuda leaves its means to cross the threshold of the shore and continue with another evolution. When passing from the water to the earth undergoes a transformation, a metamorphosis. The mask comes from this change. I gathered material on the shore (mud, palm tree, fishing net, etc.) and I built this new being to write a continuation of the legend. This situation acquired new horizons beginning its journey for the people to experience the life and other situations. Through the possession of bodies in harmony with the settlers, he began to experience their new life on earth. The only detail is that no one is aware of these manifestations, so it remains invisible from reality. And it is only possible to reveal the mystery with the lens of the camera and unveil the magic before us.