0→1

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

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)

13/05/2026

Bea Targosz () explores the hidden acoustic layer where the mechanical meets the organic. Translating years of field research into living “Situations,” her work captures the imperceptible vibrations of massive global infrastructures, turning abstract concepts into something experienced physically with the body.

AFAIK (As Far As I Know), 2024 translates atmospheric data from 1995–2015 into a fragmented landscape of sound. Through an industrial loudspeaker, global levels of carbon monoxide, nitrogen oxides, and particulates become sonified bursts of thermal instability. It replaces the logic of a chart with the friction of listening — presenting information not as clarity, but as persistent, unstable noise.

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

09/05/2026

Matteo Vettorello () uses human biology as a mechanical trigger. His “biometric tuners” rely on voice, breath, and heartbeat to function, demanding a straining physical effort to keep the machinery alive. These devices translate invisible internal states into tangible events, where the body becomes part of the circuit.

Bilancia per vortici (2017) creates a system of contamination between hardware and the body. Built from a microphone, a 12-volt motor, and a glass jar of water, the device attempts to solve an algorithm by measuring internal noise. A shout triggers the sequence: the more intense the scream, the longer a whirlwind spins inside the glass. In this closed loop, visceral emotion is pushed into calculated mechanical motion.

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

07/05/2026

Bas van Wieringen (.van.wieringen) stages the everyday as a system that can be stressed, misread, and dismantled. By redirecting the use of common tools, he reveals the absurdity of the structures we build to organize reality. His work turns small, calculated failures into moments of jamais vu, where the familiar suddenly feels foreign.

It’s About Time (2025) strips a clock of its numbers, replacing them with twelve letters. While the speed is standard, its function is gone: it no longer measures progress, but repeats a sentence in a loop that leads nowhere. It is movement without a destination, left only with its own persistence.

Part of ESC 2035 (II): We kept going. Curated & documented by .gallery / Hosted by .sunset.projectspace

05/05/2026

Time functions as a raw substance in Santiago Colombo Migliorero’s () work, measured through loops and movements so slow they become almost invisible. His practice often treats objects as things to be translated, measured, and worn down — until the act of recording starts to distort what it tries to preserve.

Untitled (Brick) (2021) is reduced to contact between ceramic and steel. A metal tip digs a path into the brick, wearing itself away under the pressure of the grind. With every grain of dust removed, the work follows a moment: a solid object beginning to disappear into its own dust.

Part of ESC 2035 (II): We kept going. Curated & documented by .gallery / Hosted by .sunset.projectspace

03/05/2026

Familiar structures appear as obsessive habits, converting a stable environment into a series of mechanical hiccups. Lukas Zerbst () balances high-tech logic with manual, forceful precision, challenging the self-assurance of our daily movements. His works keep close to systems that can be handled, repaired, and pushed back into motion.

Follow Me Blindly is a motorized tool mimicking a human operator. Using a camera and stylus, it repeats a relentless rhythm of swipes and likes, generating hollow currency for digital visibility. In this landscape, the “heartbeat” of online attention is reduced to a planned, automated event.

Part of ESC 2035 (II): We kept going. Curated & documented by .gallery / Hosted by .sunset.projectspace

05/04/2026

This Friday, April 10, ESC 2035 (II): “We kept going” opens in The Hague.

The second chapter of the trilogy moves into a world of locked frequencies and poetic fatigue. Across installations, short films, and closed-circuit systems, seven artists trace a state of continued movement amid stopped progress. Set in a former girls’ school in Scheveningen, the exhibition follows repetitive gestures, engineered light, and systems that keep running without human input.

Artists: Andrei Nacu, Bas van Wieringen, Bea Targosz, Joan Horrach, Lukas Zerbst, Matteo Vettorello, Santiago Colombo Migliorero.

Opening: April 10, 17.00–20.00
Location: .sunset.projectspace (Doornstraat 118, The Hague)

22/03/2026

“... we kept going” is the second chapter of the ESC 2035 trilogy.

Welcome to a world running on inherited muscle memory. A closed-circuit routine; a system that lost its exit route and chose repetition instead. In this architecture of fatigue, collapse is no longer an end — it’s the daily routine.

Come feel the permanent frequency.

Hosted in collaboration with At SUNSET. Set in a former girls’ school in Scheveningen, the site’s history of discipline provides the floor for a script running on repeat.

Artists: Andrei Nacu, Bas van Wieringen, Bea Targosz, Joan Horrach, Lukas Zerbst, Matteo Vettorello, Santiago Colombo Migliorero.

Opening: 10 April 2026 (17:00 — 20:00)
Location: .sunset.projectspace (Doornstraat 118, The Hague)
Curated by: .gallery

What to expect?

21/03/2026

Helmut Smits () works right at the edge where common sense starts to look absurd. There’s a specific kind of poetry in his logic. Everything begins with a single thought, and the form — whether it’s a photo, a film, or a quick intervention — follows that lead.

There is a sharp edge under all that simplicity, too. By taking the everyday and nudging it just an inch to the left, he breaks the logic of the object. He’s essentially asking why we accept these rigid systems as “normal” just because they’ve always been there. It only takes a millimeter of change to the overlooked debris of a routine to fracture that autopilot way of looking.

More online 👉 .gallery

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.

Contact Het Museum

Stuur een bericht naar 0→1:

Snelkoppelingen

Wilt u dat uw museum hét hoogst genoteerde Museum in The Hague wordt?