Magdalena Roglich, Julián Rodríguez Vigo, and Walter Pugliese
Curator: Pedro Fruttero Moreno
MAY – AUGUST, 2025 | OPENING MAY 17, 2025
Cassia House presents Travelling Without Moving, a group exhibition featuring contemporary Argentine artists Magdalena Roglich, Julián Rodríguez Vigo, and Walter Pugliese. The exhibition proposes an open dialogue between the diverse practices, languages, and techniques each artist employs in their work, finding a point of convergence in the dynamism, latent energy, and vitality their pieces convey.
The show includes six paintings and three sculptures—pieces that, although belonging to the realm of objects and sharing an imposing presence due to their dimensions, intense colors, and solid materials, manage to challenge that apparent stability through a vibrant tension that runs through them. In these works, movement is not presented literally, but rather as an internal force inhabiting the forms, pictorial gestures, patterns, lines, and surfaces. Each piece seems to contain an accumulated energy, a suspended inertia that keeps them in a state of constant latency, as if they were on the verge of transformation or about to shift from their current place.
This dynamic, almost choreographic quality that permeates both the paintings and the sculptures activates in the viewer a sense of flow and perceptual displacement. The pieces not only invite contemplation but also to be visually explored and sensorially traversed, generating an experience of continuous movement, even though they physically remain anchored within the exhibition space.
The exhibition title references both the 1996 album by British band Jamiroquai, and the renowned Proustian phenomenon of sensory memory, where a scent, a melody, or an image can instantly transport us to other times, places, and experiences. On that same album, the lead single "Virtual Insanity," in its music video, presents a seemingly static room where furniture and elements move as if they have a life of their own, creating a disquieting spatial illusion that reinforces this idea of movement without literal displacement. This visual reference works as a perfect metaphor for the spirit of the exhibition: the possibility of moving within space, perception, and thought without the need to change physical location.
At the same time, the exhibition opens up a reflection on the very concept of travel, understood not only as a physical displacement from one point to another but as any type of journey—emotional, perceptual, temporal, or conceptual. The works are not merely contemplative objects but devices that enable internal journeys, where movement occurs in the viewer’s own experience, in their way of approaching, surrounding, and allowing themselves to be affected by the visual and material impulses of the pieces.
Travelling Without Moving thus proposes to experience the transporting power of art, where the works not only occupy a space but also enable multiple possible journeys, encouraging the viewer to immerse themselves in an immersive voyage that takes place not in bodily stillness, but in the stirring of the senses and imagination.
