0→1

Website Contact opnemen met het bedrijf

0—1 is a nomadic curatorial platform — tech-aware, a bit restless, and always asking why. No fixed formats. Just artists shaping the future.

20/10/2026

A line can follow the exact shape of something familiar, or invent a world that has never existed. Birte Bosse (Birte Bosse) works with both possibilities at once. Drawing travels into sculpture, where iron rods seem to forget their weight, and into installations shaped by space and movement.

Looking closely at the world around her gives Bosse the freedom to imagine something unknown. She makes her own rules, but leaves them open to question.

More online 👉 0—1

18/07/2026

Borrowed objects in Raphael Pohl’s (raphael pohl) conceptual installations keep their former lives attached: domestic, commercial, or industrial, ordinary enough to be overlooked.

In yet lonely hue I.III (2025), this logic is reduced to a flashlight beam, a peppercorn, and a bare wall. The elements are minor, but the attention feels too exact, as if a larger function has been removed and only its smallest evidence remains. Light acts less as illumination than pressure: witness, measure, failed announcement. A ritual or economy seems to have collapsed into one narrow point of focus.

Shown in ESC 2035 (III): We never changed at ...ISM Project Space, The Hague. Curated and documented by 0—1.

14/07/2026

Sofiia Yesakova’s (Sofiia Yesakova) language comes from a hard meeting point: sacred image, technical plan, and emotional pressure forced into one structure.

Ugly scenes, Nuances 4.2 (2025) lets violence enter as order rather than image. Black pigment covers carved details, while fragile vertical forms are cut by horizontal repetitions that suggest lists, bureaucratic forms, or records without end. A strict restraint keeps intensity contained, as if anxiety has been locked into line. Catastrophe is translated into classification: a dark archive for events made harder to feel because they have been so carefully arranged.

Part of ESC 2035 (III): We never changed. Curated and documented by 0—1, hosted with ...ISM Project Space, The Hague.

09/07/2026

Jason Cook’s (Jason Cook) practice gives machines the habits of bodies: reflex, tension, rhythm, and strange intention. Robotics, code, sensors, motors, and handmade mechanisms open uneasy exchanges between people and technology.

Contortion (2024) brings this into an interactive pneumatic sculpture: a trihedral frame of pistons, springs, air tubes, and electronics. The viewer’s presence or absence determines the response, making the structure bend and shift unpredictably. What looks fixed becomes caught between imposed constraint, physical pressure, and the attempt to act otherwise.

Part of ESC 2035 (III): We never changed. Curated and documented by 0—1, hosted with ...ISM Project Space, The Hague.

08/07/2026

The first landscape behind Colin Lyons’s (Colin Lyons) practice is Petrolia, Ontario, the birthplace of the North American oil industry. His projects begin where industry has finished speaking: ruins as inheritance.

Operation Habbakuk (2023) returns to Geoffrey Pyke’s failed 1942 plan for a pykrete aircraft carrier, then reappears on Örö as a frozen one-person naval life raft. Lyons keeps it alive by staging Arctic geoengineering fantasies: artificial ice, reflective silica, and a chemical ritual drawn from industrial waste. Are controlled interventions saving nature — or making another monument to the same industrial logic that damaged it?

Excerpt from the video, with Finnish narration by Maria Pick: “Some models suggest it is possible that the late-summer Arctic could be ice-free by 2035. This loss of sea ice represents one of the most urgent feedback loops in the climate system as sunlight that would otherwise be reflected by sea ice is absorbed by the open ocean.”

Part of ESC 2035 (III): We never changed. Curated and documented by 0—1, hosted with ...ISM Project Space, The Hague.

05/07/2026

Linda Nasdalack () works with what has no stable image: memory, trauma, fear, anxiety, and the daily pressure of social norms. Her queer-feminist position treats visibility as unstable, especially when bodies are exposed, misread, or pushed outside the normal frame.

Given Enough Eyeballs All Bugs Are Shallow (2024) moves through virtual cave environments, leaving vision with almost nothing to hold onto. Point cloud scans, photographs, sound, and fragments of dialogue on ambiguity create a dark, partly readable space. More looking does not bring control, only deeper uncertainty.

Part of ESC 2035 (III): We never changed. Curated and documented by 0—1, hosted with ...ISM Project Space, The Hague.

04/07/2026

Images, for Leonardo Magrelli (Leonardo Magrelli), are unstable material: found, handled, edited, and made uncertain again. Research and reuse guide the photographs, making visual culture feel like collective memory detached from its source.

The Plant (2025) gathers photographs made near energy production sites into one unnamed place, with vegetation, industrial structures, and nuclear references held in unstable light. His flash cuts across the edge of day and night, echoing organic growth and the glare of an explosion. Post-atomic cinema and images of nuclear tests place the landscape under one warning.

Part of ESC 2035 (III): We never changed. Curated and documented by 0—1, hosted with ...ISM Project Space, The Hague.

01/07/2026

Malte Oing () and Otto Ostermann (Otto Raúl Ostermann) approach technology as social, spatial, and built into daily behaviour. Oing looks at the internet age from habits of surveillance, consumption, scrolling, and infrastructure; Ostermann follows how technology reorganises ritual, labour, policing, and space.

In Computer Smoking (2025), the cooling system acts as a smoking body. Meant to prevent overheating, the airflow pulls from a cigarette and sends smoke into the hardware. Digital labour absorbs a human habit of relief: pause, class marker, slow damage, and stress performed by a machine.

Part of ESC 2035 (III): We never changed. Curated and documented by 0—1, hosted with ...ISM Project Space, The Hague.

16/05/2026

With a background in choreography, Joan Horrach (.joan) approaches the body as a sculptural form. Continuous cycles and careful placement reveal absence, mechanical habit, and a fractured sense of being here. His work follows the distance that opens when the physical self is separated from its environment.

Somehow, Elsewhere No.1 (2024) captures a group moving back and forth against a wall for forty-five minutes. The pacing leaves movement caught in a functional loop. The pacing leaves movement caught in a functional loop. The group falls in and out of sync, mirroring how we navigate digital spaces: physically present, mentally elsewhere.

Screened as part of ESC 2035 (II): We kept going. Curated and documented by 0—1, hosted with At Sunset (atsunset.org)

Performance by .joan, documented at Turbine Hall, Tate Modern (31/05/24) / Performers: , .nak, , .inniss, , , .mateusz / Rehearsal direction: / Styling: / Video:

14/05/2026

“It’s very strange to be going through this change
With no idea of what it’s all been about
Except in the context of time...”

Performance and lens-based media provide the terrain for Andrei Nacu (), hosting a friction between personal memory and social history. The human body is positioned as a measure of political time, especially where the individual and the state reach a breaking point.

Except in the context of time… (2017) takes place at a looping bend of the Prut River, along the border of Romania and the Republic of Moldova. Armed with a bucket, Nacu carries water downstream, trying to accelerate the river’s natural flow manually. The solitary labor reframes the landscape, exposing water as a lawless weight and the border as something lived, rather than controlled.

Part of ESC 2035 (II): We kept going. Curated & documented by 0—1, hosted by At Sunset (atsunset.org)

Adres

The Hague

Website

https://0-1.gallery/

Meldingen

Wees de eerste die het weet en laat ons u een e-mail sturen wanneer 0→1 nieuws en promoties plaatst. Uw e-mailadres wordt niet voor andere doeleinden gebruikt en u kunt zich op elk gewenst moment afmelden.