A la cuenta de tres

A la cuenta de tres


Exhibition with the collaboration of  Metàfora Studio Arts Programs

“How do we read stories? What kind of stories can objects tell us? What do these stories tell about us, our stories, beliefs, and feelings? What can we build from this? Stories have a core role in our everyday life, in the configuration of society and the building of identity. There are as many ways of reading stories as there are readers and stories, and as many ways to narrate as there are narrators and stories. “a la cuenta de tres” proposes three different narratives that take place at the same time; exploring three ways of reading, from different voices.


“Adrift” by Layal Nakle

Immigration and the refugee crises is a pretty current  topic. But while the west is looking for solutions to limit this situation, they don’t dive into the causes. For this exhibition, the artist aims to propose a new way of approaching the issue. Adrift is a visual essay in three acts. Act I aims to illustrate the difficulty involved in reconciling multiple identities in a body or a space. Act II translate this identity clash using the example of the Lebanese civil war, that pushed a big part of population to migrate. Act III depicts the consequences of this migration for the country origin.

Sylvie-Layal Nakle (Ivory Coast, 1992 ) is a Belgo-Lebanese artist currently based in Barcelona. Using her multiculturalism to explore the wide notion of Identity, themes such as migration, imperialism or western hegemony are recurrent in her work. Her practice consists in collecting images (moving or fixed), sounds, stories or opinions to construct her own artistic language. In that sense, her work can best be described as an assemblage of re-appropriated materials.


“Five short stories” by Katerina Ashche

Art that includes both narrative and visual components always provoke questions, that are almost philosophical, for instance “What comes first”? Katerina, who’s work always combines stories with visual objects or performances, explains her creative process using the example of the “5 short stories piece”. “That was a couple of years ago. I had a dream that came to me almost every night and every morning I woke up with the sensation that I couldn’t explain. I felt insecure, I felt vulnerable, I felt sad, but at the same time I was attracted by the subtle beauty of these feelings. So I decided to go into them and discover there essence. I found 4 objects that served as a medium to explain this feeling. I found a woman who looked liked a woman from the dream and I photographed her. Thus I made 5 objects: a pile of flour, a pile of ash, a log, a heart and the photo. And then I sat down and wrote five short stories. When I was writing I felt like the object itself was whispering it to my ear. As a result here is the piece that came from an implicit sensation, and hopefully by engaging with you will provoke a sensation in you, like a stone creates ripples on a pond.”

Katerina Ashche (Moscow, 1977) is a Moscow-born Russian artist. She grew up in a family of circus performers and had a pet cheetah when she was a kid. Her art is about telling stories. The stories are based on the personal experience of the artist though one never knows where is the edge between the real and imaginary. Katerina works with storytelling using visual media such as installation or performance as well as texts.


“Holy no, no” by Maria José Serrano

“Holy no, no” is a book that came out as a result of the process started by using the cow to make an investigation. The interest was to focus on easy, available information we are surrounded by. What does it say? how does it say it? what kind of imaginary can be built? Informal sources of information were used. Mainly internet, stories she have heard, and talking with people. She let herself get involved by the imagery, feelings and thinking provoked by this investigation. And also by the way in which the information appeared, as she strongly believes that the way of saying says in itself.

Maria José Serrano (Uruguay, 1979) was always curious about how the world works, that coming and going of people and objects. She studied economics with the illusion of getting some clues about these matters.That intuitive, analytical, illustrative background, starts a dialog with the plasticity and possibilities of the different languages she explored. Over time she found that the illusion of understanding the world gives way to the illusion of creating her own worlds. She works in a scale that goes from the very abstract thinking/feeling, to the most concrete/touchable things.