The installation of Joaquín Bérchez, is presented with fourteen photographs some of them taken with surprising or unusual points of view of the renaissance cathedral jienense, work of the Vandelvira (father and son). The shots, some made from the interior balconies to the large nave, reflect the splendid Renaissance work done in this Andalusian cathedral, elevating the observer and giving him a privileged viewpoint. Making the viewer feel an idealized, close and transcendent point of view.
As Jorge Fernández-Santos writes in the catalog of the exhibition, Bérchez argues from the photograph the peculiar circuit of galleries and rooms with balconies to the cathedral temple and turns us into spectators of their inside-spaces transformed into an urban forum, in the main plaza sacra. The photographic quadrangular prisms, illuminated inside and with the room in gloom would come to suggest these civil galleries, as if the photographer wanted to accommodate us on a continuous and raised balcony, surrounding the interior thus unveiled the cathedral.
A quiet scene, trapped in a soft light forgeting strident constrast and where the traces of its occupants, (seats, liturgical elements, confessionals ...) give the human reference that accentuates the scale of the building. Joaquín Bérchez shows us his renewed perception of the building from an educated scenic vision in a conical perspective, from which he does not avoid an intentional theatricality, which leads us to imagine "the diaphanous space of the temple, the classical elegance of its columnar pillars or the light Of their vaults of calligraphic stereotomy."
The installation allows the spectator to have the sensation of being immersed in the space of the cathedral, to be able to have a glimmer of joy as the catalog and the title of the exhibition reminds us, turning into a narrative argument the exhortation of the cult of José Martínez de Mazas ( 1794), looking at the interior of this cathedral from its balconies: "He who has to enjoy all its beauty must look at it from the windows and balconies that surround it above the Chapels. Then he will surely be surprised ... He will see the correspondence of all its parts, without there being one that undoes of the other nor in columns, nor in chapels, nor in windows, stained glass & c. and all high and great."
![Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés](/sites/default/files/styles/mopis_home_news_category_slider_desktop/public/lead-images/metalocus_narelle-jubellin_carta-aberta_22_2p.webp?h=3b4e7bc7&itok=ALbdeJ3O "Aínda sen título. White Letter [#3] to Narelle Jubelin. (Elena Asins · Narelle Jubelin · Anna Turbau). Photograph by Roi Alonso, courtesy of Galería Nordés")
