/Prosopon Project is a long-term artistic research conceived as a protean framework unfolding in a non-linear space. Each stage of the process functions simultaneously as a completed form and an open state, where non-closure operates as a condition of passage rather than an endpoint. The project develops through a plurality of forms, contexts and methodologies, crossing different media, economies and modes of production. Rather than progressing toward a fixed outcome, Prosopon builds itself along the way, allowing each occurrence to redefine the project’s trajectory. Every proposition (sculptural, performative, semantic or digital) functions as a hollowed face, akin to a cast or imprint. Traces, residues and vestiges become sources, supports and levers for subsequent forms, generating a continuous chain of transformations. Within this proteiformat, the face and the mask are approached as unstable thresholds, sites where memory, gesture, technology and perception intersect. From this matrix emerges Nekuia, a performative research presented at the Biennale de la Danse in collaboration with the Centre Pompidou, conceived as a dérivation of Prosopon and a passage toward the stage.Prosopon operates as a living system: an evolving ecology in which each activation leaves a trace, and each trace opens the conditions for what follows.
FIGURES
/Prosopon — both mask and face — is at the origin of the word “person,” an idea historically tied to unity and reflection.
Through Prosopon, Cassandre Muñoz explores identity as a shifting, vibratory state: plural, unstable, revealed in negative space.
Figures emerge through echoes, transparencies, accidents and reflections, opening the question: am I someone, or am I no one?
/prints
/Prints operate as imprints.
Casts and moldings capture a moment of contact, pressure and absence.
Each print functions as both residue and source — a transitional form through which the face becomes material, memory and potential.


NEKUIA PROCESS
Poush, Paris, 2025
/faces


LA FACE CACHÉE DE PERSONNE
Performance, 4x20min, Poush Paris, 2023
/Faces appear in performance as transient states rather than fixed identities.
The face is treated as an active surface — exposed, altered by light, breath, voice and attention. Neither mask nor character, it becomes a site of intensity where gesture, presence and disappearance coexist.

OPEN STUDIO NEKUIA
Ongoing creation, La Briqueterie CDCN Val-de-Marne, Vitry-sur Seine, 2025
/masks
/Made of clay and paraffin, the masks are burned, cut and altered through successive transformations.
The mask does not conceal identitiy. It reveals the moment identity becomes a prison.

NAHEL #1
clay & wax, 2023

ARIEL 2023 #0
clay & wax, 2023

ARIEL #3
clay & wax, 2023

LEO #0
clay & wax, 2024
/A.I. research
/The AI research operates as a poetic and semantic field.
By feeding the system with embodied knowledge drawn from dance, orality and ritual, its initial vocabulary of control and optimization is displaced. Prompts function as spells, generating unstable facial landscapes. These outputs circulate back into the project, informing masks, performances and spatial dispositifs.

EXTRACT FROM ALIEN ARE US
video installation, 12', 2023.
#DISCODIFFUSION #REAL-ESRGAN
SPACES
/Spaces function as activated environments.
Installations and spatial dispositifs host figures as shifting presences, shaping how bodies, images and materials are encountered.
Within and without are not places.
They are conditions of appearance.
/within

LA CHAMBRE DES ANCÊTRES
Performance-Installation, Centre Wallonie-Bruxelles, Paris, 2024


LA FACE CACHÉE DE PERSONNE
Performance-Installation, Poush Paris, 2023

NEKUIA AVANT-PREMIÈRE
Performance-Installation (50min), Villa Gillet as part of the Lyon Dance Biennial in partnership with the Pompidou Centre, 2025
/without

PEAUX NOIRES, MASQUES BLANCS
Performance, (15min) Maison Robert-Jones as part as Voices festival, Bruxelles, 2024

EVE
Performance (30min), Private event, Cahors, 2024

L'AGENOUILLÉE OU LE PASSAGE DU TEMPS
Performance (3hours), off Horizone festival, Colmer-le-bas, 2024
ACTIVATIONS
/Activations mark moments when the work enters a shared space.
They are situations where figures, bodies and environments meet through time, attention and exposure.
Each activation tests the work in relation to context, audience and unpredictability.
/performances

NEKUIA AVANT-PREMIÈRE
Performance-Installation (50min), Villa Gillet as part of the Lyon Dance Biennial in partnership with the Pompidou Centre, 2025

LA FACE CACHÉE DE PERSONNE
Performance-Installation, Poush Paris, 2023



LA FACE CACHÉE DE PERSONNE
Performance-Installation, Poush Paris, 2023
PROCESSES
/Long-term research unfolds through daily studio practice, material experimentation and embodied testing.
Residencies—particularly the ongoing residency at POUSH—function as laboratories where gestures, objects, images and technologies are continuously reworked.
Process is not a preliminary stage but an active layer of the work, where transformation, failure and repetition generate new forms.
/material

wax & skin

video & prompts
/resistance and memory

argile & wax

plaster & water
/gestures


OPEN STUDIO NEKUIA
Ongoing creation, La Briqueterie CDCN Val-de-Marne, Vitry-sur Seine, 2025
/thinking
/This bibliography is organized around three axes : making face, counter-figures of power, and the vibration of forces ; in order to think the prosopon as a relational, political and embodied surface, always situated in a given time and space.
MAKING FACE / MAKING PERSON
(Prosopon, mask, role, personhood, figuration)
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The Person in Ancient Greece — Barbara Cassin & Frédérique Ildefonse
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Death in the Eyes: Gorgo, Figure of the Other — Jean-Pierre Vernant
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Faire visage comme on fait surface
Making Face as One Makes a Surface — Daniel Bougnoux
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Des figures du visage aux visages des figures
From Figures of the Face to Faces of Figures — Bernard Lafarge
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De Tertullien à Boèce. Le développement de la notion de personne dans les controverses théologiques
From Tertullian to Boethius: The Development of the Concept of Person in Theological Controversies — Pierre Hadot
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The Other Face — Christian Bobin
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Faceworld — Marion Zilio
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Concerning the Spiritual in Art — Wassily Kandinsky
MASKS, POWER, COUNTER-FIGURES
(Coloniality, overexposure, disfiguration, politics of visibility)
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Peau noire, masques blancs
Black Skin, White Masks — Frantz Fanon
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Frantz Fanon: A Prophet of Rage
Frantz Fanon: A Prophet of Rage — Adam Shatz
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Métaphysique de la putain
Metaphysics of the Prostitute — Sutter
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L’identité n’est pas essentielle, nous sommes tous des passants
Identity Is Not Essential: We Are All Passersby — Achille Mbembe
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Politiques de l’inimitié
Politics of Enmity — Achille Mbembe
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Critique de la raison nègre
Critique of Black Reason — Achille Mbembe
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L’érotisme
Erotism — Georges Bataille
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Donner à voir — Paul Eluard
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L’Atlas Mnémosyne
The Mnemosyne Atlas — Aby Warburg
VIBRATION / TIME / FORCES
(Polyssemy, body, memory, ritual, immediacy, space)
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La polysémie : un artefact de la linguistique
Polysemy: An Artifact of Linguistics — Bernard Victorri
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Polysémie adjectivale et synonymie : l’éventail du mot curieux
Adjectival Polysemy and Synonymy: The Spectrum of the Word “Curious” — Jean-Luc Languis & Bernard Victorri
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Matière et mémoire
Matter and Memory — Henri Bergson
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L’Évolution créatrice
Creative Evolution — Henri Bergson
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Cours sur l’immédiat
Lectures on Immediacy — Vladimir Jankélévitch
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Sur le concept d’histoire
On the Concept of History — Walter Benjamin
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L’Image survivante
The Surviving Image — Georges Didi-Huberman
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La transparence et le reflet
Transparency and Reflection — Serge Bramly
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Une brève histoire des lignes
A Brief History of Lines — Tim Ingold
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La symbolique du corps humain
The Symbolism of the Human Body — Annick de Souzenelle
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Mathématiques de l’infini
Mathematics of Infinity — Serge Pey
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Les forces
Forces — Laura Vazquez
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La danse des esprits au-delà de Wounded Knee
The Dance of Spirits Beyond Wounded Knee — Tatiana Viallaneix
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La Horde du Contrevent
The Horde of the Counterwind — Alain Damasio