Elly Strik, Exercises at home, 1981 - Courtesy of the artist and Madé van Krimpen.
TITLE_NAME :
Be Mov(i)e
17/01/2026 - 28/02/2026
Madé van Krimpen
Prinsengracht 615 H
Amsterdam
https://madevankrimpen.com/
“Every name in history is I…”¹ When artists move along with the world’s evolution, the ego—the I—is embedded and abandoned at the same time. In Be Mov(i)e), works by Moreno Schweikle, Jesse Siegel, Elly Strik, Majd Suliman, Luca Tichelman, and Jan Tomza-Osiecki explore the fluid interplay between body, material and consciousness as they oscillate through time and desire, multiply, and emulsify.
Be Mov(i)e situates itself as an inquiry into perception, participation and experiment of how we attain a synchronicity of seeing. Taking inspiration from the Lumière brothers’ invention of the Cinématographe (1895)², a device capable of recording, copying, and projecting simultaneously, the exhibition returns to cinema’s earliest promise: movement as an unbroken flow, where the world reveals itself as one, and the viewer is carried along.
The works on view resist being broken up or tied to a single story. Each operates as a self-contained world, unfolding on its own terms while inviting you to enter. Here, the (i) in Mov(i)e becomes operative, not as a stable subject, but as a shifting point of identification that dissolves the boundary between observer and artwork. In doing so, the exhibition quietly challenges the copy-write of worlds, suggesting that how worlds are seen and experienced is something we share.
17/01/2026 - 28/02/2026
Madé van Krimpen
Prinsengracht 615 H
Amsterdam
https://madevankrimpen.com/
“Every name in history is I…”¹ When artists move along with the world’s evolution, the ego—the I—is embedded and abandoned at the same time. In Be Mov(i)e), works by Moreno Schweikle, Jesse Siegel, Elly Strik, Majd Suliman, Luca Tichelman, and Jan Tomza-Osiecki explore the fluid interplay between body, material and consciousness as they oscillate through time and desire, multiply, and emulsify.
Be Mov(i)e situates itself as an inquiry into perception, participation and experiment of how we attain a synchronicity of seeing. Taking inspiration from the Lumière brothers’ invention of the Cinématographe (1895)², a device capable of recording, copying, and projecting simultaneously, the exhibition returns to cinema’s earliest promise: movement as an unbroken flow, where the world reveals itself as one, and the viewer is carried along.
The works on view resist being broken up or tied to a single story. Each operates as a self-contained world, unfolding on its own terms while inviting you to enter. Here, the (i) in Mov(i)e becomes operative, not as a stable subject, but as a shifting point of identification that dissolves the boundary between observer and artwork. In doing so, the exhibition quietly challenges the copy-write of worlds, suggesting that how worlds are seen and experienced is something we share.