First Edition: Irene Accarini, Juan Pablo Schiebelbein, Martín Zambrano Echenique
August 21 – September 11, 2025
Second Edition: Natalia Bruno, Jorge Hugo Marcolini
Curator: Mónica Rizzi
October 15 – October 31, 2025
Cassia House presents Habitar, cuidar, Calendario, a collective exhibition curated by Mónica Rizzi, unfolding in two consecutive chapters that propose an expanded reflection on the relationship between matter, time, and memory.
The first edition, inaugurated on August 21, brought together the works of Irene Accarini, Juan Pablo Schiebelbein, and Martín Zambrano Echenique, and gathered a large audience in an opening night where art became a space for encounter and contemplation. Paintings whose strokes and colors seem to hold the trace of barely-dreamed landscapes; woven and textile compositions that unfold like stories suspended in air; sculptures that combine geometry and emptiness to invite an active silence — three languages that found in diversity their point of communion.
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The second edition, opening on October 15, presents works by Natalia Bruno and Jorge Hugo Marcolini, expanding the dialogue toward new materialities and poetic atmospheres. Bruno explores the expansion of color and movement from a territory that crosses the scenic and the pictorial, while Marcolini proposes a series of abstract landscapes where distance and light merge into atmospheres of stillness and resonance.
Through both stages, Habitar, cuidar, Calendario manifests as a shared territory where the visible and the invisible coexist. Each piece, in its particularity, participates in the same question: how do we relate to what surrounds us, and to that which we do not yet know how to name?
The art scene invites us to move through textures, prisms of light and shimmer, subtle grains and shades. Sound and silence meet in a pause, calling us into contemplation. Nature becomes both meaning and presence; it inhabits us as we care for life. Art binds the artist as a participant, constituted in blissful freedom.
Our response to it implicates us as the cause of a blank page, of a new work. The instant of creation has once been the brushstroke on the canvas, the first knot of embroidery, the line of a sketch, the photographic instant, the word that sparked dialogue. Familiar gestures through which art speaks in its own languages—and even knowing that the cultural muscle is activated when emotion arises between us, the question remains:
Are we the scene?
Is nature within each artist?
Within our frame, are we the image?
— Mónica Rizzi
With this proposal, Cassia House opens its doors for the works to breathe alongside the viewer, and in that exchange, memories, emotions, and new meanings come alive. The experience is not limited to observation: it invites one to linger, to be traversed by what matter suggests and the artist’s gesture reveals.
Each visit — in either of its two stages — becomes a distinct chapter of this imaginary calendar, where time is measured in moments of contemplation, and the act of traversing the exhibition transforms into a poetic and collective gesture.
