EXPO ART BASE
19.03-20.04 / 2026

Rue des Sables, 29 – 1000 Bruxelles

The Shape-Shifting Woman proposes a reflection on the female body as a territory of transformation, resistance, and symbolic reconstruction. Through a dialogue between material languages and introspective processes, Txema Muñoz and Kasia Haber articulate a shared space centered on mutable identity, embodied memory, and metamorphosis.

In this exhibition, the body ceases to be a stable form and becomes a field of tensions shaped by time, experience, and action. The female figure appears as a surface of inscription, a place where traces, wounds, disappearances, and reappropriations accumulate.

Txema Muñoz’s proposal revolves around an intervened body that condenses tension, memory, and transformation. The female figure emerges as a territory crossed by contradictory forces: destruction and permanence, fragility and resistance, disappearance and reconstruction. Far from functioning as a closed object, the work presents itself as a space of passage where matter preserves the traces of a limit experience.

This altered body becomes a site of symbolic inscription, where gesture, time, and energy leave visible and invisible marks. The surface refers not only to a physical process, but also to an emotional and conceptual cartography that places the viewer before a presence that is both vulnerable and persistent.

The work expands through a constellation of images that extend and displace the experience of the body beyond its physical presence. These fragmented projections activate a play of reflections, resonances, and distortions, where the real and the interpreted intertwine, generating multiple layers of perception and meaning.

Kasia Haber’s work, in turn, explores the female figure from an intimate and contemplative perspective, in which time, silence, and fragility play a central role. Her images and paintings construct spaces of introspection where the body appears as a site of emotional and symbolic transition.

The encounter between both practices generates a productive tension between the visceral and the meditative, between transformative action and silent observation. Metamorphosis is presented not as a spectacular effect, but as a continuous process of adaptation, resistance, and redefinition.

Far from an idealized representation, the bodies inhabiting this exhibition are shown in a state of transition: bodies that erode, fragment, and recombine. Transformation thus becomes a poetic and critical strategy in response to normative models of identity.

The Shape-Shifting Woman invites the viewer to traverse a territory where the female body asserts itself as a living, unstable, and autonomous space, capable of reinventing itself in the face of time, memory, and the contemporary gaze.