Installed in a loosely chronological order, the exhibition will give an overview of Taptas oeuvre, which is mainly divided into two periods: the textile works made in the 1960s until the early 1980s and the works in neoprene from the 1980s to 1990s. The exhibition first focuses on Taptas textile works, in which she steadily distanced herself from traditional weaving by applying experimental techniques such as twisting her woven pieces and, in particular, through the use of ropes, which she knotted and joined together into organic volumes. Her work protruded outwards from the wall, became more three-dimensional and increasingly interacted with the space and the viewer, who was invited to experience the works not only visually but also in a tactile and physical manner, stepping around and even inside them. In addition to about twenty original textile works, the exhibition will premiere the unique reconstruction recently made of Taptas Forms for a Flexible Space (1974). This imposing installation made of cords, in which the visitor can enter and taka a seat, isas far as is knownthe only still existing environment of which Tapta created several in the early 1970s. However, since the original is in extremely poor condition, an exhibition copy was made last year during the Tapta exhibition at Wiels, Brussels, and will be shown in its entirety for the first time at Muzeum Susch. Taptas activation of the viewer, as seen in the textile sculptures, also manifests itself in the black neoprene works that she began to make in the late 1980s and whichfollowing an intermediate phase of experimenting with rubber and stretching ropes across the vaults of the exhibition spacesmarked a radical turn in her use of materials. Handcrafted rope sculptures now gave way to sculptures and installations from the industrially manufactured material, neoprenefurther developing, however, her idea of flexible sculpture. Large black surfaces connected by metal bars and bolts form open structures, through or past which the viewer can walk. Sometimes, the different elements of the sculpture are connected by hinges, allowing their shape to be changedaccording to the size of the space or the will of the visitor. Some of the archival documents that will be shown next to the scale models, feature Tapta as a professor at the La Cambre National School of Visual Arts in Brussels. From 1976 to 1990, she led the textile workshop there, renaming it Flexible Sculpture. This commitment as a teacher was as important to her as her artistic practice. Rather than instructing her students in a particular technique, she prioritised the development of an open and critical mind. Her students included Ann Veronica Janssens, Monica Droste and Marie-Jo Lafontaine. Tapta (the pseudonym of Maria Wierusz-Kowalska, born Maria Irena Boyé) was born in Poland in 1926 and came to Belgium as a political refugee with her husband, Krzysztof, after taking part in the Warsaw Uprising of 1944. She studied weaving at the La Cambre National School of Visual Arts, Brussels, from where she graduated in 1949. Shortly afterwards, the couple moved to the Belgian Congo (now Democratic Republic of the Congo), where they lived from 1950 to 1960. On their return to Belgium in 1960, until her sudden death in 1997, she worked in Brussels as an artist andfrom 1976 until 1990as a professor at La Cambre.