WeiXin Quek Chong: moulting pangs
The body in transformation—shedding, merging, mutating—is at the heart of moulting pangs, a new solo exhibition by multidisciplinary artist WeiXin Quek Chong (b.Singapore, living in Madrid). Drawing from the speculative worlds of Octavia Butler’s Xenogenesis trilogy, Chong delves into a sensuous landscape of form and fluidity - amorphous shifting and the pluriversality of bodies—resisting categorization in the constant struggle of becoming. Reimagining the gallery space as a cavernous, creaturely interior, Chong’s new body of works includes sculpture, installation, video and prints.
Gabriela Mureb: Crash
Gabriela Mureb (b. Brazil; living & working in Rio de Janeiro), known for her sculptural machines and performative installations, presents Crash — a new video work presented for the first in the UK. It was developed during a residency and research visit to BMW’s Dismantling and Recycling Centre in Munich, Germany. Rooted in her ongoing exploration of the body as machine and the interplay of mechanical and sonic repetition, Crash captures a visceral collapse: a choreography of destruction in which mechanical utterances emerge as raw, rhythmic language — the body coming undone, unsettling in its beauty and violence.
About the artists
WEIXIN QUEK CHONG (b. 1988, Singapore) is a visual artist known to work with image, objects, audiovisual, and at times, performative elements to play with perception and tantalise the senses.
Chong received her MA from the Royal College of Art,London, and her BA (Hons) from LASALLE College of the Arts, Singapore. She works between Madrid, Singapore and London, and has exhibited extensively.
Recent exhibitions include: shedding:::selves, group show, Queer East Festival, London (2024); La Casa Generación 2024, group show, showcasing commissioned works by winners of XXIV edition of Generaciones, Madrid (2024);and Gestures of Resistance, group show, ai. x LINSEEDProjects, London (2023). Chong has also been chosen forseveral residencies including Holstebro Dansekompagni, Denmark in 2024, De Singl Arts Centre, Antwerp in 2023 and, Grey Project, MMCA Goyang, Korea in 2022. Her upcoming residency at Singapore Art Museum will begin October 2025.
GABRIELA MUREB’s (b. Brazil; living & working in Rio de Janeiro) focuses on technical objects, either through the construction of machines or the appropriation of industrial parts. Based on the premise that every machine carries with it the movements and noises of the world that generated it, the artist’s research centers on the potential interactions between the body, technology, and the environment. This approach results in sculptures, installations, performances, videos, and sound works that explore the intricate relationships between technology, corporeality, and the surrounding environment. Through these artistic expressions, the viewer is encouraged to reflect on the interconnectedness of these elements and the narratives that emerge from this encounter.
PhD in Visual Languages from UFRJ - Rio de Janeiro (2022), where she also teaches. Her solo exhibitions include: Horsepower, Central Galeria - São Paulo (2025), Crash, Florida Lothringer 13 - Munich (2023); Rrrrrrrrrr, Central Galeria - São Paulo (2017); and Corpos Dóceis, A Gentil Carioca - Rio de Janeiro (2009). Her group exhibitions include: Artista de Artista, Galeria Luisa Strina – São Paulo (2023); Transe, Bienal do Mercosul, Instituto Caldeira – Porto Alegre (2022); Tragédia!, Fortes D’Aloia & Gabriel – São Paulo (2022); Garganta, CIAJG – Guimarães (2022); Soft Water Hard Stone, New Museum Triennial - New York (2021); Mulheres na Coleção, MAR - Rio de Janeiro (2018); among others. She participated in the Air-m Ebenböckhaus / Salta Art’s Program residency – Munich (2023). She was selected for the Rumos Artes Visuais program, Itaú Cultural - São Paulo (2011) and received the Marcantonio Vilaça Award - São Paulo (2016). Her work is part of the MAR collection in Rio de Janeiro.
General hours: Wed-Sat 12.00-17.00
Frieze East End Day: Sun 12 Oct 11.00-18.00
WeiXin Quek Chong: moulting pangs
26 September - 22 November 2025
The body in transformation—shedding, merging, mutating—is at the heart of moulting pangs, a new solo exhibition by multidisciplinary artist WeiXin Quek Chong (b.Singapore; living in Madrid, Spain). Drawing from the speculative worlds of Octavia Butler’s Xenogenesis trilogy, Chong delves into a sensuous landscape of form and fluidity - amorphous shifting and the pluriversality of bodies—resisting categorization in the constant struggle of becoming. Reimagining the gallery space as a cavernous, creaturely interior, Chong’s new body of works includes sculpture, installation, video and prints.
Within the faux fur-lined alcove, the hanging sculpture net worths basketball-reminiscent hoop and net adorned with suspended glass amulets filled with salt embodies a tension between seduction and surrender, its materials evoking both intimacy and estrangement, preservation and dissolution.
In Xenogenesis, Butler imagines a post-human future where alien and human forms merge in a negotiation of survival and desire. Inspired by these interspecies intimacies, Chong’s series of silicon sculptural works evoke the discomfort and necessity of moulting—the casting off of old skins to make way for new forms. This process is as much visceral as it is conceptual, reflecting the "pangs" of transformation, bodily or otherwise. Bodies are sites of constant negotiation—between species, genders, and power structures. Similarly, in this exhibition, Chong investigates the instability and permeability of form, suggesting that identity and embodiment are neither fixed nor singular.
The largest work in the exhibition evokes the form of a shark’s egg-case — commonly known as a mermaid’s purse. Enveloped in folds of translucent silicon and mesh, the sculpture suggests a gestational state, simultaneously protective and alien. Its glistening, organic contours blur the line between body and vessel, gesturing toward transformation as both a biological and speculative act. Chong's materials—whether tactile sculptures, sound, or organic matter—mimic biological processes and blur the lines between the technological and the corporeal. Just as Butler’s Oankali merge with humans on a genetic and affective level, Chong’s works gestures toward a plural, entangled future where bodies are always in flux, never fully knowable, and constantly remade through relation.
In the innermost chamber of the gallery, Humic Moods unfolds—a video work composed of whispered and textual fragments from Joseph Conrad’s Heart of Darkness- the last sayings of the delusional and dying Kurtz, paired with the image of a disembodied hand gently stroking a banana leaf. Together, these elements evoke the unsettling implications of an extractivism stripped of empathy. While Conrad depicts a descent into the violent degradation of the dehumanising mindset, the work gestures toward Butler’s Xenogenesis, where a similar reckoning with human destructiveness leads not only to collapse, but pushes into transformation. In this shift, Otherness becomes more than threat- it becomes a site of crucial evolution.
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Gabriela Mureb: Crash
26 September - 22 November 2025
Gabriela Mureb (b. Brazil; living & working in Rio de Janeiro), known for her sculptural machines and performative installations, presents Crash — a new video work presented for the first in the UK. It was developed during a residency* and a research visit to BMW’s Dismantling and Recycling Centre in Germany. Rooted in her ongoing exploration of the body as machine and the interplay of mechanical and sonic repetition, Crash captures a visceral collapse: a choreography of destruction in which mechanical utterances emerge as raw, rhythmic language — the body coming undone, unsettling in its beauty and violence.
Through a dense, textured soundscape of whirring motors, cracking metal and hums, the work documents the systematic dismantling of a car by a lone operator, who controls massive robotic arms with uncanny precision from inside a sealed cockpit—an internal chamber. The camera moves fluidly between wide shots of the industrial warehouse and intimate close-ups—from joystick-driven gestures to the machine’s point of view. As multi-coloured wires are yanked from within the vehicle’s interior and wound up like spaghetti whilst the exterior shell crumples like foil from a sweet wrapper, the vehicle is gradually transformed into a toblerone-shaped prism of compressed metal. At times, the visual language evokes the strange theatre of a candy claw machine — the surgical arms reaching with calculated precision into a closed system, extracting fragments of something once whole. Yet, rather than delivering sweetness, these gestures yield brokenness, evoking transience, obsolescence, and the illusion of control. The destruction becomes strangely sensuous, even erotic—a collapse rendered with poetic pacing and an unsettledness.
The title, Crash, gestures not only to the impact of metal on metal, but to the dissolution of boundaries between body and machine. As the car is disassembled and reformed, the work becomes a meditation on decomposition—of objects, bodies, systems, and the ecosystems we mirror through industrial design.
The film is accompanied by a sculpture column (from the Column/Tower series) made from gears, pulleys, and bearings – basic elements for transmitting movement, force, and speed in a machine – collected in scrapyards in Rio de Janeiro. These are used parts: each one has a unique history, having been used in industrial technical apparatus – many of them being historical pieces. If the vertical, phallic shape and the technical symbols evoke an image of strength and brutality, the sculptural gesture that produces these works, the simple process of stacking, reveals a fragile, unstable structure.
*Crash was produced by Mureb during Air-m Ebenböckhaus / Salta Art’s Program residency in Munich, the film follows the dismantling process of a test car at BMW’s Dismantling and Recycling Centre in Unterschleißheim, in the metropolitan region of Munich.
