The immersive experience Momentum is a narrative of physicality, movement, and resistance. It presents an image of the dynamic body – physical, emotional, technological, and political – expressed through animation, where the most vital occurrences transpire in the interstices of motion. Drawing upon two exhibitions presented at the Krupa Art Foundation –  Body. Pain and Pleasure and Utopias of the Present – the project offers fresh perspectives and interpretations.

Animation was conceived to create the illusion of movement and endow the inanimate with life. It has since evolved into a realm of imaginative freedom for artists, where alternative worlds are constructed, and new modes of existence are explored. Free from binary, unequivocal categories and entrenched hierarchies of power, animation is often perceived as a medium that lends itself to experimentation, queerness, and transgression.

Continuity, dynamism, and the dramaturgy of movement are central to animation. In relation to the body – the thematic focus of the aforementioned exhibitions – the eponymous Momentum refers to the energy of the body in motion and the mastery of its effective use. It designates an emotional turning point when direction and dynamics shift, or when an existing rhythm and tension are disrupted. It is a moment of profound transformation which, as in animation, occurs in between – between still frames, within invisible transitions.

Holes by Birgitta Hosea was originally conceived as a large-format installation to be viewed through a peephole. It presents a tender, sensual journey through the interior of a woman’s body. The artist engages in the queering of animation, exploring its trans properties – a transitional state in which metamorphosis and in-betweenness form the ontological foundation. Drawing upon Sara Ahmed’s Queer Phenomenology: Orientations, Objects, Others, Hosea relates the notion of orientation – understood as direction – to the broader context of the human experience of space and the ways in which we move through the world. In her work, she attempts to convey her spatial experience as a queer person – not through the prism of homophobia  or discrimination, but through the experience of same-sex desire. Based on her research into peep shows as a form of extended animation, she proposes a redefinition of the conventional parameters of animated space.

The Anatomy Lessons by Jörg Hurschler is an imagined anatomy of artificial intelligence. It lies almost motionless as pulsating movement courses through its vein-like cables. Dispersed energy gathers simultaneously in multiple loci, generating tension and unease. This AI – a technological body of impulses and reactions – sustains an internal, autonomous rhythm that inclines towards an unpredictable momentum.

A Tree Fenced In by Fairouz Hasan presents the experience of the female body, as the film documents ultrasound images of fetuses in a moment where fear and uncertainty intersect. Hasan’s film is not merely a personal reflection but also a metaphor for Palestine – a condition of a country living under a colonial and repressive system. Themes of femininity, pain, and loss are explored not as private tragedies but as political realities, as the female body becomes the bearer of the scars of violence.The artist explores the body through the lens of pregnancy, as a profound emotional and political experience shaped by mourning. For her, the womb is a space of both connection and loss a place where children grow, only to be born into the real threat of death.

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• 16.01.2026 | artist-curator guided tour | more info coming soon