Current Obsession: What role do you tend to play in the artistic ecosystem there – whether maker, curator, events organiser/promoter, etc.? What institutions have you attended or worked in, and what communities do you traverse?

Hannah van den Elzen: I graduated from the Willem de Kooning Academy in Rotterdam, within the Transformation Design department, in 2021. During my studies, I was mainly engaged in speculative design as a way to open up conversations about pressing social, technological and transhumanist developments. One of the projects I created back then was XTRNL (2019), a speculative jewel presented in the exhibition Body Control in Arnhem, as part of the OBSESSED! Festival at the time.

The XTRNL – a jewel with crown-like symbols meant to be worn on the top of the head – reflected on the potential consequences of designer DNA and the fear of an unequal society shaped by it. In a future scenario, the XTRNL would be able to extend human brain capacity. I wanted to ask: ‘What if technology could expand our mental and physical capacities, and a jewel like the XTRNL might serve as a status symbol within a future society?’

After graduating, I realised that my passion for speculative and critical design lies not only in creating objects and installations myself, but perhaps even more in shaping and sharing the stories around (speculative) design and art in general. That realisation led me to focus on communication and curatorial practices at different art spaces in Rotterdam. Over the past few years, I’ve been working actively in the Rotterdam cultural field – supporting galleries, artists, festivals and artist-led spaces by connecting their narratives with a broader audience.

Quite recently, I started curating exhibitions at Het Archief Artspace, a Rotterdam-based space where experimentation takes centre stage. Here, I bring together artists whose practices resonate with my vision – opening up questions about society, technology and identity through curated exhibitions.

My role in the artistic ecosystem of Rotterdam is a hybrid one: I move between communication, curating and community building, while staying close to the needs of young makers and also my personal desire to share narratives and speculate about possible future scenarios. 

CO: What events are you involved in specifically? Can you describe them and elaborate on what kinds of functions you hope they play in the greater picture of the festival? Also, do you have any specific ideas about who you are curating the event for, what you would like to accomplish with it, and whom do you hope to reach?

HE: For OBSESSED! 2025, I am expanding the Rotterdam programme in multiple ways. At Het Archief Artspace, I’m curating an exhibition – called Strangely Familiar – which will not only present the work of talented jewellery designers, such as Lorena Rode, but also artists from outside the jewellery field, such as Lore Pilzecker and Marieke Peeters, who engage with the theme of transformation and identity, and question what it means to be human in today’s society. By intertwining jewellery design with other art forms, I aim to open up new conversations and broaden the audience’s perspective on the medium. 

HE: At the vibrant, industrial location Schiehavenhallen, I’m also organising a jewellery fair Crafted Gems specifically for Rotterdam-based makers: a space where jewellery talents, such as Lisette Keyer and Amber Gambler, can both exhibit and sell their work directly to visitors. 

Through recent conversations with jewellery makers in the city, I’ve noticed a strong desire for more platforms giving visibility to their craft. I hope this event strengthens the local network of Rotterdam-based jewellery designers, connecting them with new audiences and putting their voices on the map – for jewellery professionals, collectors, young visitors, art lovers and curious passers-by who might discover jewellery as a form of storytelling and critical reflection. 

CO: What factors do you think of as driving forces – creative, environmental or otherwise – that contribute to the spirit, ethos, daily rhythm, and overall feel of the place you’re working in? Are there any groups or individuals that you feel add to the flavour and experience there, whether directly or indirectly?

HE: I would say the driving force in the Rotterdam cultural ecosystem is – without a doubt – the artists themselves. Whether in formal institutions or artist-run voluntary initiatives, I constantly encounter makers who work from a deep passion – eager to test ideas, share their thoughts and connect with others. That energy, combined with a culture of self-organisation, is what gives the Rotterdam art scene its particular ethos: raw, experimental and collaborative.

There is also a certain openness within this ecosystem: many makers don’t just present their own work but also actively create opportunities for others. Especially younger generations, who are seeking visibility and connection, are essential to the vibrancy of the scene. These designers are constantly reshaping the city’s cultural rhythm by bringing in fresh perspectives and unexpected collaborations.

CO: Is there anyone whose event you’d like to highlight in particular (in addition to the ones you’re involved in)?

HE: I would like to highlight the GEMZ exhibition and programme – a unique talent development initiative by Current Obsession, supporting young makers over the course of a year. The results of six talented makers will be showcased at Kunstfabriek, an exciting hotspot for art and design in Rotterdam. Alongside an exhibition, Current Obsession will launch a publication introducing these voices to a wider audience. I think GEMZ perfectly reflects the spirit of Rotterdam: nurturing new talent and encouraging experimentation. 

CO: One hot tip for Rotterdam?

HE: The Iris van Herpen show at Kunsthal!