Exhibitions
Natusfera Improbabilitas: the submerged gaze of Jonàs Forchini at L'Aparador del Museu Abelló
Submerging in the turbidity with a photographic immersion that reveals the fragility, resistance and life that persists beneath the industrial waters of Fos-sur-Mer.
The showcase of the Abelló Museum is not just a window to the outside, but a space that forces pause, reflection and dialogue with the works on display. This small corner of art works as an intimate counterpoint within the city, evoking the spirit of Espai 13 of the Miró Foundation: a place where art is not only contemplated, but demands attention and interaction, located between the entrance to the museum and the house of the painter Joan Abelló. Whatever direction we take, our gaze inevitably stops in front of the showcase.
On this occasion, the proposal on display is Això que no m'ensyes , curated by Mercè Vila Rigat, with the third installment of the cycle focused on Natusfera Improbabilitas , which can be visited until July 6. The project, developed by the artist and diver Jonàs Forchini, offers an in-depth look at the industrial port area of Fos-sur-Mer, one of the autonomous ports of Marseille, and one of the most polluted regions in southern Europe. The combination of refineries and metallurgical complexes has altered the landscape, generating murky waters that seem to suffocate life.
Through a succession of photographs, Forchini gradually immerses us in these degraded underwater environments. His gaze captures the tension between destruction and resistance: the water is dirty, dark, but life persists, fragile and precious, as if it only survives in exchange for a caress. This contrast between environmental brutality and the delicacy of life becomes the narrative axis of the exhibition, which invites the viewer to a sensory and reflective experience at the same time.
Forchini carefully chooses these submerged landscapes altered by human action, where visibility is scarce and turbidity dominates the scene. Here, photography becomes an instrument of exploration and, at the same time, a powerful artistic medium: the technique dominates without overshadowing the conceptual strength of the images, which transmit a philosophical, raw and intimate reading of the less visible and, often, ignored spaces. In Natusfera Improbabilitas , the concept of the sublime does not reside in traditional beauty, but in the ambivalence, tension and reality of degradation. Forchini's gaze forces us to confront what we prefer not to see, reminding us of the fragility of life and the complexity of our relationship with the natural and industrial world.
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