This place is also a centre for the creation of a common work, parallel to those that each author presents individually. This work, which takes a videographic format, shows us the personal style of the artists and lets us see the common points in their work. As occurs in the joint work, when we observe the exhibition, we find that in the different proposals offered by the authors, we can appreciate the points of concurrence, such as the process, the transformation, the land, or identity.

This transforming process finds its highest expression in ‘Nódulo’ (Nodule), the work by Alba Moreno, in which a series of portraits shows us the difficulties of communication that the artist finds around him, both personal and professional, that culminates with an installation in which the photographs that are located inside it are dropped to the ground destroyed-transformed.

Eva Grau shows us in her work, ‘La redención de los hijos de Caín’ (The redemption of the children of Cain), as a simile of religious tradition, that there are two key factors in the evolution of History, the importance of the land and the use of animal violence in automatic response to threats.

Lastly, located in the centre of the room is the ‘Criba’ (Sieve), the installation by Javier Artero, a table on which a roll of white fabric unfolds that functions as a mechanism to record a video, which, subsequently, is projected onto the same fabric. It is a mechanism that allegorically presents to us the different phases, again, stages of his creative process: the end and the means.

In short, this exhibition is proposed not only as the start of the Iniciarte Programme, but also, to establish a parallelism with the musical language, as a prelude for these three artists who meet for the first time, thus adjusting their voices as in a metaphorical musical composition.

The exhibition catalogue features an essay by Juan Francisco Rueda ‘Tres estados. Todo fluye. O de la polifonía procesual’ (Three stages. Everything flows. Or on processual polyphony).