Opening Friday, January 9, from 5–8 PM Exhibition from 9 to 24 January 2026 Open hours Thursday through Saturday, 14:00–18:00
What happens when the systems we build keep running, but we are no longer there? The first chapter of the ESC 2035 trilogy explores a world in suspension. Featuring works by 8 artists, the exhibition captures a weather report of a future where technology is a landscape of dust, signals, and fossilized interfaces.
Building on the themes of ESC 2034, this chapter looks at the residue we leave behind — from sound circuits to neon warmth — asking what remains when presence is absent.
… the world paused.
Nobody’s here, but something still is. The systems haven’t shut down completely: screens, wiring, dust, and light still translate motion, heat, and air into tone.
Participating artists: Francesco Zedde, Junya Li, Laury Hooghuis, Maria Esteve Trull, S. Mercure, TJ (Tianju) Chen, Tobias Krämer, Todd Clare
This is the second show curated by 0–1.gallery at Quartair. 0–1 is a nomadic contemporary art platform that moves how it needs to — tech-aware, a bit restless, and always asking why. Since 2017, 0–1 has been shaped by artists who keep things in motion, not there for fixed ideas. There are no walls, no permanent fixtures, but a stubborn curiosity, and the need to explore issues that matter. Read more on: 0–1.gallery.
Opening Sunday, Feb 22nd 15:00 opening with performances
Presentations Monday, Feb 23rd 15:00 Lecture by critic Rhee Gyeong-Mo 16:00 Artists talks 17:00 Korean dinner
Nine Dragon Heads is a Korean contemporary art nomadic platform cooperating with Quartair for over 15 years.
Crossing Currents presents a dynamic survey of Korean contemporary art that reflects the country’s rapid cultural transformations and its expanding role in global artistic discourse. Bringing together artists whose practices span from installation, performance, video, photography, to post-material experimentation, the exhibition explores how Korean artists navigate themes of identity, mobility, ecology, and technological change while engaging in dialogue with European and global contexts.
The exhibition positions Korea not as a remote cultural sphere but as an active participant in the transnational flow of ideas—resonating strongly with Quartair’s long-standing interest in international exchange as an experimental artistic practice.
Participating artists: Pang Hyo-Sung (performance), Jang Gyeong-Churl (photo), Lee Hyo-im (panting), Lee Ae-Kyeong (painting), Vania Oh (object ), Kim Young-Jin (Video), Kim Kyeol-Soo (installation), Kwon Ki-Ja (object ), Kwon Ki-Churl (drawing), Pak Kyong-OK (painting), Park Shi-Hyun (drawing), Bahk Young-Hoon (video), Noh Jung-Ha (Video) Ran Hwang (object), Lee Young-Ae (drawing), Park Seung-Jae (painting), Lara Goo (object), Yemi Kim (animation).
This event is supported by AAW ( Asian Artworks) and MOON Gallery 101.
The Environmental Art Symposium Nine Dragon Heads was initiated in South Korea by Park, Byoung-Uk in response to the destruction of an important historical site in 1995, and has evolved from the specific eco-political motivation into an open, interdisciplinary nomadic platform where an association of artists from around the world implement individual and collaborative art projects related to humanitarian, political, environmental and cultural issues.
The origins of Nine Dragon Heads are part of a distinct continuum of artistic development in Korea, beginning in the 1980s and 90s with a small group of artists (contemporaries of Park) who wanted to consider artistic and philosophical problems outside of traditional Korean art forms and who were motivated to remain under the radar of the military regime and government control in place at that time. In that political environment a significant thread of South Korea’s contemporary art development took place in off-site projects, held within rural mountainous areas and remote natural sites.
During thirty years of activity Nine Dragon Heads has evolved out of its specific locality and historical background to investigate a broader range of transitional environmental, economic and political situations. A further important step for Nine Dragon Heads began in 2006 when it became actively nomadic. It was a natural progression for the project to begin to engage with other specific localities and their eco-political histories by traveling.
Working in locations with transitional characteristics that may be environmentally, economically and/or politically troubled, on important cultural, historical and geopolitical routes has become a particular feature of working within Nine Dragon Heads. It is noteworthy that Nine Dragon Heads is an inherently flexible model capable of responding perceptively and with focused spontaneity to the inevitably unexpected contextual conditions which occur within the immediate surroundings of each location the group is engaging with artistically.
Nine Dragon Heads has worked on locations throughout the South Korean Peninsula and its islands, including the Demilitarized Zone (DMZ) and Joint Security Area (JSA) between the North and South of Korea. Other areas recently engaged include Bosnia/Herzegovina, the South Caucasus; Georgia, and Central Asian locations; Uzbekistan, Turkey, China, Tibet and Mongolia. Past projects have also taken place in Switzerland, Australia, New Zealand and Brazil.
The KABK department of Interactive Media Design, I/M/D, presents their 3rd year’s collective works at Quartair. Open this Friday, 12 December, from 18:00 to 23:00, with installations, interactive works and performances.
Join us this Saturday, 6 December, for an afternoon centering Kenyan artists and Kenyan struggle, with an online presentation by Minoo Kyaa, Antony Adhiambo, and Davis Tafari from The Travelling Theatre, plus lino-prints, DJ sets and a fleamarket.
The Travelling Theatre is an initiative incorporating various kinds of art; performing arts, street theatre and public outreaches in promotion of mass education in the quest for social justice in Kenya. It involves a cadreship of trained social justice organizers from different social movements and progressive formations. In this regard, the Social Justice Travelling Theater, inspired by the works of Fanon on the pedagogical method of reaching the masses, galvanised by Paulo Freire’s pedagogy of the oppressed and the intellectual role of the theatre of the oppressed is a towering arm in both internal study and mass work within the framework of the Kimathi Political School.
This benefit event brings forth stories of resistance and revolution told through a variety of creative practices, from street art to theatre. A one-day exhibition including DJ sets, a bake-sale, and a lino-printing workshop. All proceeds go to the construction of the Kimathi Political School, in Laikipia County, about 180 km from Nairobi City.
Saturday, December 6, from 12:00 to 19:30 at Quartair. Organized by AIN NL.
All members graduated from the Fotoacademie/Photo Academy of Amsterdam and went on to establish themselves as independent artists. Within the group, photography takes on different roles: for some it is the starting point for explorations that lead to sculptures, installations, videos, works on paper, or interactive pieces; for others it is the final outcome of a process that engages multiple media. What unites them is a shared curiosity, a willingness to experiment, and a commitment to moving beyond the boundaries of photography.
Exhibition from 18 October – 1 November, 2025 Opening Saturday, October 18th at 16:00 Exhibition hours Wednesday–Saturday, 13:00–17:00
Roaring Into Being is an exhibition by 0—1.gallery, a nomadic contemporary art platform existing since 2017. This is the third and concluding exhibition in their series ESC 2034.
Roaring Into Being looks at the convergence of the synthetic and the organic. The exhibition moves between the rumble of machines, the resonance of nature, and the shifting terrains of digital evolution. Each work reflects on humanity’s changing relationship with technology — its imprint on the environment, the body, and ways of seeing. Some works treat ecology as metaphor, others as method — erasing the divide, questioning interdependence, and tracing the fragile systems we inhabit.
With works by: Andrea Samory, Chang Hsin Yu, David Bowen, Egosito, Johannes Thiel, Lotta Stöver, Maxime Lechêne, Sophia Gatzkan
Across the exhibition, technology appears not as future, but as a condition — embedded, felt, and already altering what it means to be physical, connected, or alive.
Concluding a conceptual trilogy, Roaring Into Being marks the final phase of ESC 2034 evolving study into digital futures, tracing a trajectory from subtle machine-nature interactions to a world shaped almost entirely by technology.
About 0—1.gallery 0—1.gallery is a contemporary nomadic curatorial platform that moves how it needs to — tech-aware, a bit restless, and always asking why. Since 2017, it has been shaped by artists who keep things in motion — not there for fixed ideas of what art is supposed to be. No walls, no permanent fixtures, stubborn curiosity, and the need to say something that matters.
The works trace how technology settles into matter, gesture, and atmosphere. Andrea Samory turns screen-born imagery into sculpted bodies with faint echoes of myth; David Bowen builds instruments that let natural signals steer machines; Egosito tunes friction and timing into mechanical rhythm; Sophia Gatzkan looks at bodies shaped by support structures and prosthetic cues; Maxime Lechêne studies components that follow use and airflow; Johannes Thiel constructs soft systems that move like tools learning to behave; Lotta Stöver works through sensors and small circuits to study how data frames attention; and Chang Hsin Yu translates motion and environment into sound, letting space compose itself. Together, these practices outline a world where digital and physical processes shape one another at close range. – 0—1.gallery
EN Toasted is raw, fresh, and full of energy, straight from the factory floor. Art, fashion, and music merge into a sensory experience. With installations and performance by both emerging and established talents.
NL Toasted is rauw, fris en vol energie, direct van de fabrieksvloer. Hier smelten kunst, mode en muziek samen tot een zintuigprikkelende ervaring. Met installaties, mode en performance van opkomend talent én gevestigde kunstenaars.
Opening 26 September 2025, during Hoogtij #82, from 19:00 to 23:00 Opening hours: Saturday-Sunday, from 13:00 to 17:00 Finissage 11 October 2025, during MusemNacht Den Haag
Participating artists / kunstenaars: Marlies Adriaanse, Lau Breukhoven-KROES, Blanka de Bruyne, Marc Claeijs, Oliver Doe, June Gibbs, Mekhlla Harrison, Dana laMonda, Astrid Nobel, Jessy Rahman, Zeger Reyers, Mike Rijnierse, Pietertje van Splunter, Mariska Streefland, Thom Vink.
June Gibbs has made her work ‘More or Less’ into an installation for Toasted at Quartair
June Gibbs investigates the norms and perceptions that confine us. By giving room for recognition, humor, and reflection, she tries to navigate a world full of contradictions: “I intend to provoke a tension that triggers reflection and wonder. Either by subtle gestures, or straight forward moves, I playfully explore the abstract and the recognizable to expose the forces that shape our expectations and opinions.” For Toasted, her work ‘More or Less’ will take the form of an installation presenting parts of the 2025 graduation project.
Oliver Doe: Something More, Something Else, coloured pencil drawings on cotton rag paper
Oliver Doe’s drawings stem from an interest in the asterisk within queer language use. This typographical symbol often appears as a marker of ‘something more’ or ‘something else’ beyond the language that we can see. This can be used as a mode of queering, particularly within gendered expressions (eg. Queer*, Man*, Woman*), but appears most notably with the use of “Trans*”, implying a set of meanings beyond the simplicity of this foundational word. As we expand the categories, these layers begin to overlap and their meanings expand into something new, something queer, something that defies concrete, universal meaning. “My research has been focused on linguistic abstraction as a performative mode that can (de)construct the possibilities of queer identities, communicating beyond language as we expect it. This work focuses particularly on paralanguages – movement, colour, gesture, tone – on ways in which they are abstracted through time and context to defy understanding and entangle their meanings as they overlap with the verbal.” Visit also: Oliver Doe
Museumnacht Den Haag 2025
For the Museum Night / MuseumNacht Den Haag, on October 11th, 2025, we have prepared a lively program of performances and a DJ set.
Rhythm of Flour, KROES
EN Rhythm of Flour is a performance and interactive sound installation by Lau Breukhoven, also known as KROES. Inspired by Quartair’s history as a former bread factory, it explores themes of rhythm arising from repetition and slow change, in two performances. Expect DIY electronics and a fresh perspective on sound art. (Photo: Parcifal Wercman)
NL Rhythm of Flour is een performance-element en interactieve geluidsinstallatie van Lau Breukhoven, ookwel KROES. Geïnspireerd door de geschiedenis van Quartair als voormalig broodfabriek exploreert het in twee performances thema’s van ritmes voorkomend uit herhaling en langzame veranderingen. Verwacht doe-het-zelf electronica en een frisse blik binnen de geluidskunst.
DJ set
🎶 We close the Museum night with DJ Yan Sun and his eclectic vinyl collection invoking Afro, Exotica, Cumbia, Brazilian, Funk, Disco, Ska and Reggae spirits. Join us!
header image: De walvissen komen de botten van hun voorouders halen, Astrid Nobel (casein, washed up coal, whale bone, seawater and gesso on canvas) 200×80 cm, 2024Visitor strikes a pose in front of Marc Claeijs’ works; photo by Dana laMonda, 26 September 2025
Waiting Field is an exhibition of immersive video installations by four emerging artists exploring the intersection of cinema and visual art. Like a field shaped by time and subtle shifts, the exhibition reflects on waiting – as a condition, a space, and a method –where images and meanings slowly take form.
Featuring works by Alexandra Pavlovskaya-Lokchine, Kimia Khedri, Michał Kucharski, and Lyy Raitala.
Opening: Friday, 6 June from 19:00 to 23:00 Exhibition hours: from Saturday 7 June to Tuesday 10 June, 13:00-19:00 and Wednesday, 11 June, 13:00-16:00
The title Waiting Field refers to a space that is both literal and metaphorical – a place shaped by time, transformation, and anticipation. The exhibition reflects the temporal nature of video and the quiet tension of waiting: for meaning, for resolution, for something to emerge.Working in the undefined space between film and visual art, each artist approaches video not just as a storytelling device but as a sculptural, spatial, and conceptual medium. Their works explore the thresholds between reality and fiction, absence and presence, stillness and movement.
Kimia Khedri (b. 2003, Tehran, Iran) is a visual artist based in The Hague. She investigates disorientation, memory, and the invisible connections between identity and place.
Alexandra Pavlovskaya-Lokchine (born 2002 in Moscow, Russia) is a visual artist and cinematographer based in the Hague and in Paris. She captures suspended moments — foggy landscapes, deserted alleys — where time feels paused and memory lingers.
Michał Kucharski (born in 1997 in Krakow, Poland) is a visual artist based in The Hague, working primarily with videography and photography. With his work, he approaches the medium as a sculptural object, examining how narratives unfold through space and tension.
Lyy Raitala (1999) is a Finnish lens-based artist living in the Netherlands. She constructs surreal, fragmented scenes drawn from everyday life, using humor and subtle interventions to destabilize the familiar.
Together, these works form a shared terrain – a waiting field – where the moving image becomes a site of reflection, transformation, and encounter.
On Sunday, June 1st, Quartair receives Pi Quartet for their debut concert.
Based in The Hague,Pi Quartet is a half-American, half-Dutch string quartet dedicated to neo-classical, contemporary, and experimental music. Composed of Leah Plave (cello), Lidwine Dam (viola), Leslee Smucker (violin), and Hoei Lien The (violin), the ensemble formed out of a shared passion for multidisciplinary performance and curiosity for music beyond the traditional canon. The name Pi, referencing the mathematical symbol π, symbolizes unity, harmony, and infinite potential as well as the quartet’s sensitivity to space and context in performance.
Program: Caroline Shaw – Entr’acte Arvo Pärt – Summa Philip Glass – Strijkkwartet nr. 5 Osvaldo Golijov – Tenebrae
An exhibition displaying a rich collection of Mayan textiles in dialogue with installation works by Miriam L’Herminez. Curated by Marina Manger Cats
From 17 to 25 May 2025 Opening times: from Wednesday to Sunday, from 13:00-17:00 Lecture: A Tapestry of Diversity, Saturday 17th May, from 15:00 to 16:30 Poetry reading: Sunday 18th May, from 15:00 to 16:30 Hoogtij Den Haag: Friday 23 May, open until 23:00 Finissage: Sunday, 25th May at 16:00, screening documentary “Tapestries of Light, Life and Community” & discussion
Coloured Connection juxtaposes highly colourful textiles, traditionally woven and embroidered by indigenous Guatemalan women with the contemporary approach of artist Miriam L’Herminez. The large collection on show displays the traditional blouses known as ‘Huipiles’ and other garments that were made mainly in the 1970s, 1980s and 1990s by indigenous Maya women, coming from different villages of Guatemala. The textiles, true pieces of art, bear specific colours, patterns and characters and come from private collections.
The weaving culture is passed down from mother to daughter for centuries, and forms an important part of the Maya identity, with the technique itself, as well as the patterns and symbols, that stem from pre-Columbian times and Mayan mythology. Here, the Maya’s cosmovision plays an important role, whereby humans are not central to the world, but are part of the nature around them. Maya weaving was also a kind of hidden language and cultural expression, where values and identity could be preserved despite oppression by the Spanish conquistadores and destruction of ancient Maya books and other cultural expressions. Maya weaving is now suffering under the influence of globalisation, commerce and machine reproduction, with special weaving knowledge and its own culture and values being lost.
The extraordinary Guatemalan Maya weaving inspired Dutch multimedia artist Miriam L’Herminez to create works using textiles and other materials, with an eye for the special, Guatemalan indigenous culture and identity. In doing so, she seeks a connection between our culture and that of the Maya, exploring the fragility of people, culture and materials in a special way. She embraces the universal, the human, without giving it a precise face.
About the artist Miriam L’Herminez is a visual artist, trained as a doctor. She draws inspiration from themes such as diversity, connection and people-to-people conversation. An important source for her work is a 15-year stay as a doctor in Malawi, Zimbabwe and Tanzania. During her work, she was touched by barriers that can emerge unintentionally within human interactions. Cultural differences, language and emotional codes sometimes prove unbridgeable. Where do we find each other through the differences? L’Herminez takes the colourful Mayan textiles to explore forms of connection across cultures and celebrate diversity. Visit: www.lherminez.com
Lecture: Guatemala, A Tapestry of Diversity
On Saturday, 17 May, Maria Veronica Sajbin, advisor to INGUAT on Indigenous Populations, spoke about the richness of Guatemala’s weaving cultures. This lecture was made possible through the collaboration with INGUAT, the Guatemalan Institute of Tourism and with simultaneous translation by Valeria Guzman.
Poetry reading
On Sunday, 18 May, we received Mirjam Musch reciting poems from her own work and from Guatemalan poets (in Spanish and Dutch). Guatemalan guest speakers recited poems by Guatemalan Maya women (in Spanish, Kaqchikel and English) including poems by Rosa Chavez, Negma Coy, Irma Nimatuj, and Javier Payeras.
Mirjam Musch is a Dutch writer and poet who worked in Guatemala. Migration, resilience, and the possibility of finding beauty and connection in the midst of disruption are central themes of her work. Her Poetry collections are Bloedlijn ; Voces entre dos orillas-Stemmen tussen twee oevers ; Encuentros – Gedichten op reis; Steggy y el Meteorito.. Visit also: www.mirjammusch.com
Negma Coy is a Kaqchikel Mayan artist. She works in the community to ensure the art and knowledge of the Maya communities continue to flourish. She is a writer and poet, painter, backstrap-loom weaving instructor, and cultural promoter. Books she has published include: XXXK’, I Am an Owl, Canvases of Inheritance, On the Shores of Fire, Tz’ula’ – Guardians of the Roads, and the Kikotem Collection – Kaqchikel Stories, Tales, and Poetry.
Finissage 25 May: film screening at 16:00 Tapestries of Light, Life, and Community in Guatemala
The film weaves together the stories of women who have led legislative initiatives, shaped national policies, fought for human rights, built collective movements, and created spaces for art and activism—all in the pursuit of peace, justice, freedom, and a life without fear. Their journeys reveal that the strength of their communities has been the key to their transformation. The screening was followed by a short discussion.
About the curator Marina Manger Cats grew up in Guatemala and worked there later as a doctor at community level. She and her mother collected ‘huipiles’ and other textiles over the years. Marina brought together artworks from other private collections to give a broad picture of Guatemalan weaving art in this exhibition. She comments that often people visiting Guatemala, whilst touring the ‘hotspots for tourists’, hardly have time for, nor are introduced to the many aspects of Mayan culture. They may see women in Mayan clothing on the streets, but they miss the crucial role of women in weaving, with their incredible creativity and mathematical skills, learned at an early age, with a lot of counting and puzzling involved. The tourists are often not aware of the deep meaning, cultural identity and heritage that lies behind the weaving designs, nor the social functions of the weaving itself.
Although the huipiles are sold at affordable prices to tourists, it may take months of work to make just one. Weaving not only contributes to the family income but also contributes to mental health, due to the meditative focus required in the process, weavers tell us. Therefore, Manger Cats hopes to strike the public’s curiosity and enthusiasm about the beauty, complexity, and background of textile work and its meanings: the heritage of Mayan culture, the link to Mayan mythology of the designs, and the role of this textile production in guarding Mayan identity and cosmovision in today’s globalized world.
Donations and income from the sale of L’Herminez’ artworks and postcards benefit weaving schools for girls and young women (through the Guatemalan organisation AFEDES/MNT) to preserve Maya weaving as cultural heritage.
Supported by the Embassy of Guatemala and Instituto Guatemalteco de Turismo (INGUAT).
