The Kunstmuseum Den Haag is pleased to announce that Jacquill G. Basdew has joined the Supervisory Board. Basdew, who joined the museum at the age of 29, is the youngest supervisor in the Kunstmuseum’s history. With this appointment, Basdew will assume oversight responsibility for the Kunstmuseum Den Haag, KM21, and Escher in Het Paleis, the three museum institutions that fall under the Supervisory Board.
His appointment aligns with a broader movement within the cultural sector to give new generations and fresh perspectives a structural role in governance bodies. With this step, the Kunstmuseum underscores its commitment to multi-voicedness, innovation, and renewal in governance.
Basdew was connected to the museum through Binoq Atana’s national program, with the aim of strengthening the youthfulness of the supervisory board. After a year of intensive collaboration, the museum and Basdew decided to formalize this relationship with his appointment to the Supervisory Board. This collaboration revealed a shared ambition to contribute not only to the museum’s development but also to the national discussion on cultural governance and the position of young supervisors.
Within the Board, Basdew will, in addition to his general supervisory duties, chair the Artistic Committee, a newly established committee that strengthens the museum’s artistic direction and vision. This committee complements existing supervisory structures such as the Audit and Remuneration Committees and reflects the museum’s ambition to structurally embed artistic value in policy and oversight.
For Basdew, his role goes beyond opening doors to new generations. He’s committed to increasing visibility and space for a broad, diverse group of professionals who traditionally have less access to management positions. He advocates for governance that is accessible to new target groups and reflects the sector’s multi-voiced nature, both in the arts and in the institutional infrastructure that supports it.
Jacquill G. Basdew:
It means a lot to me to contribute to an institution so deeply rooted in our cultural identity. I see my role on the Council as an opportunity to actively contribute to the future of the museum and how we, as a sector, take responsibility for accessible and robust cultural policy. I’m committed to strengthening inclusive and future-oriented governance, in which diverse perspectives are truly taken into account.
Margriet Schavemaker, director of the Kunstmuseum The Hague:
Jacquill G. Basdew brings a rare combination of artistic sensitivity, strategic insight, and community engagement. His presence on the Board of Trustees reflects our ambition to be a museum rooted in society and open to new voices and ideas.
Jet de Ranitz, Chair of the Supervisory Board:
“Jacquill G. Basdew brings an important new perspective to our Board with his vision, international experience, and ability to connect generations and sectors. We look forward to working with him to shape the museum’s future.”
With this appointment, the Kunstmuseum Den Haag confirms its commitment to a future in which cultural institutions not only speak of inclusion, innovation, and social relevance, but also structurally embed these values in their management culture.
About Jacquill G. Basdew
Basdew is a multidisciplinary professional at the intersection of art, culture, and social development. He brings a combination of artistic, strategic, and social insights to his work and management roles, representing a perspective within the Supervisory Board of the Kunstmuseum Den Haag Foundation that is still rarely embedded in traditional supervisory structures.
He has collaborated with international institutions such as Tate Britain and the Victoria and Albert Museum in London, and with a wide range of organizations in the Netherlands, including the Rijksmuseum, the Amsterdam Museum of Photography (FOAM), and the Amsterdam City Archives. Basdew also holds various board and advisory positions, including at DutchCulture (member of the Supervisory Board), the Royal Academy of Art and the Royal Conservatory of The Hague (member of the Supervisory Board), and the National Theatre in The Hague (advisory board).
A packed program with 17 artists offering their work, plenty of options for Christmas gifts! You can screen-print your own deco. Food stalls with delicious food, the bar will be open, there’s a bonfire in the garden and mulled wine, and there will be lively music in the bar area from 1 p.m. to 5 p.m., with DJs and two live performances!
See Lab Duinstraat 55-57, The Hague Sunday 14th dec 11:00 – 17:00
This Christmas holiday marks a particularly special moment: a true local favourite, The Nutcracker (6+) by De Dutch Don’t Dance Division (DeDDDD), returns to the Amare stage for the very last time. The beloved production, which has been cherished by countless families since its premiere in 2006, will be performed one final time from 25 to 30 December. Don’t miss this unique opportunity to experience a cherished Christmas tradition.
The Nutcracker as a Hague tradition
In 2006, choreographers Thom Stuart and Rinus Sprong created their own version of E. T. A. Hoffmann’s classic tale, set to the unforgettable music of P. I. Tchaikovsky. Their Nutcracker has grown into one of the company’s most beloved productions, thanks in no small part to its distinctive blend of star soloists, young talent and dancers of all ages. The stunning projections by David Middendorp, inspired by Hague landmarks such as the palace on Kneuterdijk and the Grote Kerk, give the production a warm and familiar atmosphere.
Quote from Thom Stuart, Artistic Director DeDDDD
“After dancing as a soloist in Nutcrackers in America for 10 years, it was a dream come true for Rinus Sprong and me to bring our own Nutcracker version to the Netherlands. Community art, cultural participation and simply a wonderful Christmas ballet – and by now truly a Hague Christmas tradition. Every year it’s a celebration!”
A story full of magic
After a grand Christmas party with all the ambassadors, Amalia van Wassenaer goes with her family to Mass at the Grote Kerk. During the sermon, she falls asleep as the clock strikes twelve. When she wakes, her family has vanished and she finds herself threatened by frightening mice, rats and a terrifying Rat King. Her Nutcracker doll, a Christmas gift from her favourite uncle Unico, comes to her aid. But he too, along with her little brother Willem, cannot escape the horrors. Fortunately, Uncle Unico manages to transform the nightmare into a dream. The doll transforms into a handsome prince and the Sugar Plum Fairy brings dancers from all corners of the world to life. When Amalia suddenly wakes with a start, she’s back in the church pew beside her mother, father, little brother and grandmother. As they walk home, the snowflakes seem to dance.
Eighth and final run
This series is particularly special, as it marks the last time this iconic Nutcracker will be performed. With this run, the successful production reaches its eighth staging, having become a treasured and established Christmas tradition for many Hague families.
Practical information
The Nutcracker (6+) By: De Dutch Don’t Dance Division in collaboration with Amare Performance dates: 25–30 December 2025 Location: Amare, Spuiplein 150, The Hague
The Arts Society The Hague (https://theartssociety.org/the-hague) invites you to join us for the 3rd lecture of the season given by Sally Dormer on ‘St Nicholas, Myra and Santa Claus – Mistaken Identity’ in the Atrium, Atrium of R.C Parish ‘Church of Our Saviour’, Helenastraat 8, 2595HA The Hague, on Tuesday 9th December 2025 at 20.00 hours.
How did the remains of Nicholas, a fourth-century bishop from Myra, Turkey, reach Bari, Italy in 1087? And how did this rather obscure churchman become the patron saint of sailors, merchants, prisoners, and children in the Byzantine Empire and Western Europe? This lecture explores the development of St Nicholas’ medieval cult through the artefacts associated with it: icons, wall paintings, and illuminated manuscripts, and charts his eventual transformation into the well-loved Santa Claus.
Dr Sally Dormer, an accredited lecturer of The Arts Society UK, is a lecturer and tutor for the Early Medieval Year Course at V&A. She’s Dean of ‘European Studies’ for 2 US Universities and a freelance lecturer for The Art Fund. She also lectures for study tours, cruises, and tour groups. She has a BA (History) University of Durham and a PhD (Medieval Manuscript illumination) and MA (Medieval History of Art) from the Courtauld Institute.
For this seasonal lecture, mulled wine (Glühwein) and minced pies will be served after the lecture in the Atrium.
For those unable to be present at the Atrium, this lecture will also be streamed via Zoom to those who registered.
Persons are requested to sign up for the lecture beforehand, also if they are coming to join us in person at the Atrium, as this gives an estimate of the number attending.
Japanese artist Yui Ozaki presents GOOD KIDS, a new immersive installation at NGO DEI, The Hague, transforming the gallery into a playful, candy-colored environment where cuteness becomes a form of packaging—and identity becomes a consumable product.
Blending vibrant colors, soft sculptures, and visual cues borrowed from snack packaging, GOOD KIDS reveals how contemporary culture stylizes and markets our sense of self. The exhibition invites visitors to reflect on the subtle ways identity is shaped, displayed, and circulated through consumer desire, social media aesthetics, and the language of cuteness.
ABOUT THE EXHIBITION
In GOOD KIDS, Ozaki treats identity as a surface—bright, sweet, and ready to be consumed. Drawing from the visual vocabulary of gummies, toys, and supermarket snacks, she creates character-like forms and tactile installations that occupy a space between playful objects and commercial products.
Across the gallery, soft sculptures appear like purchasable emotions: heart-shaped cushions, pastel-colored forms, and smiling symbols that could belong equally to children’s merchandise or adult fantasy. The installation echoes a miniature supermarket in which feelings, gender identities, and forms of love line the shelves as colorful goods.
Despite the cheerful palette, the work carries a critical edge. Ozaki highlights how even identities seeking fluidity or liberation can become branding—flattened into styles, filtered into trends, or packaged for public consumption. The exhibition encourages viewers to notice how their own self-image is shaped by the commercial and cultural environments they inhabit.
ABOUT THE ARTIST – YUI OZAKI
Yui Ozaki is a Japanese visual artist based in Prague. Her practice combines cuteness, humor, and gendered visual culture to examine how identity is performed and shaped within contemporary media.
She holds a BA in Visual Design from Kyoto Seika University (2015) and an MFA in Intermedia Art from UMPRUM, Prague (2021).
ABOUT THE GALLERY — NGO DEI
NGO DEI Gallery in The Hague is a cultural space using art to spotlight social justice and global solidarity. It brings together artists, activists, and scholars through exhibitions and events that connect creativity with meaningful impact. The space features a 53 m² white-box gallery on the ground floor, and a media room with a community kitchen on the first floor to support dialogue, workshops, and community engagement.
EXHIBITION DETAILS
Title: GOOD KIDS
Artist: Yui Ozaki
Dates: 13–21 December 2025
Opening Reception: 13 December at 16:00
Venue: NGO DEI
Address: Westeinde 25, 2512 GS Den Haag
Opening Hours: 13:00-19:00 ( Closed on Monday and Tuesday )
The winners of the 2025 Piket Art Prizes were announced last week at the Theater aan het Spui in The Hague: Carmen Roca Igual (Painting), Chandenie Gobardhan (Dance), and Kollektief op Kracht (Theatre). They will receive a cash prize of €6,000 and a unique award, the Hammer, created by artist Joep van Lieshout. The Piket Jury Prize goes to Cees Debets, Director of the Theater Department at Het Nationale Theater. The Piket Art Prizes are awarded annually to promising young professional artists in the fields of painting, dance, and theatre.
“This year, once again, the expert jury, chaired by Majel Blonden, is bringing young talent to the attention of a wider audience,” says Marie Jeanne de Rooij, director of the Piket Art Prizes. “Talent that is often already making significant progress, garnering admiration, challenging, and sparking curiosity. Piket Art Prizes is pleased to be able to provide the vibrant experimental drive and blossoming promise of the three winners and the nominees with significant financial support , paving the way to a rewarding career in the arts.”
Attractive and layered visual art Painting jury members Pietertje van Splunter (artist and co-founder of the artists’ initiative Quartair) and Johan Gustavsson (Experimental Art Space 1646, lecturer at the Royal Academy of Art, and curator of Prospects) are impressed with artist Carmen Roca Igual. “The jury appreciates the way Carmen Roca Igual combines research and imagination to capture the contradictions of contemporary digital life. Her ability to translate urgent cultural questions into engaging and multi-layered visual art makes us curious about her development in the coming years as one of the promising artists of her generation,” say Van Splunter and Gustavsson.
Treasure trove of movement techniques Professional jury members Erik Kaiel (dance collective Arch8) and Mitchell-lee van Rooij (Korzo) call choreographer and dancer Chandenie Gobardhan “progressive, relevant, and refined.” “With her enormous wealth of diverse movement techniques and styles (Bollywood, Bharatanatyam, Hip Hop, House, Locking, and Modern), Chandenie opens up new and refreshing perspectives, building bridges between the familiar and the unfamiliar, the past and the present,” according to the professional Dance jury.
‘Great theatre with limited resources’ The work of Kollektief op Kracht, which consists of director Nanine Kok and players/makers Trix van Erkel, Jan Groenland, Jelle Huizinga, and Léon de Vrede are characterized by “a great sense of timing, humor, and craftsmanship.” “With minimal resources, they manage to evoke a world that is both absurd and relatable. They demonstrate that you can create great theater with limited resources,” say Theater jury members Joep Hendrikx (Poezieboys) and Nadine van Pinxteren (Het Nationale Theater en de Parade).
Piket Jury Prize: Cees Debets The jury unanimously chose Cees Debets, director of the National Theatre, to receive the Piket Jury Prize. “Cees does considerably more than ‘just his job.’ He is a remarkable theatre director because he is always there. At every performance, no matter how small, he shows his face, always with infectious, genuine enthusiasm, ready to find something new and exciting every time. With that same enthusiasm, he connects with the audience, welcomes them, and gets them excited about the performance,” the jury stated.
Other nominees Besides the winners, Livia Claesson and Jemima de Jonge were also nominated this year in the Painting category, Giulio Hoxhallari and Annabel Koele in the Dance category, and Hélène Vrijdag and Mike Zanting in the Theater category. They didn’t go home empty-handed either, receiving €3,000 and an award, the Hammer, from renowned artist Joep van Lieshout.
About the Piket Art Prizes The Piket Art Prizes have been awarded since 2014 to young artists who have a connection to The Hague, either because they have flourished there or because their work makes a stimulating contribution to The Hague’s cultural scene. Their namesake, Frederik Hendrik Piket (1927-2011), a lawyer and member of the Senate for the CHU (later CDA), was a great lover of art and culture. After his death, a foundation was established to annually encourage promising professional artists up to the age of 30 with the Piket Art Prizes.
Featured photo: Cees Debets (Piket Jury Prize), bottom left Carmen Roca Igual (Painting), in the back Kollektief op Kracht (Theater), and on the right Chandenie Gobardhan (Dance). Photo: De Schaapjesfabriek
