Traffic

Drone sightings caused suspension of air traffic at Eindhoven airport, impacting both civilian and military operations.

Air traffic at the Eindhoven airport in the south of the Netherlands has resumed after a suspension that lasted several hours due to multiple drone sightings, the Dutch defence minister has said.

Traffic resumed around 11pm (22:00 GMT), Defence Minister Ruben Brekelmans said on Saturday, two hours after he had first reported the disruption.

“Defence has taken measures,” the minister said. “Out of security considerations no further information can be shared.”

Eindhoven serves both as a civilian and as a military airport. All types of air traffic were suspended, Brekelmans said.

Asked if it was clear where the drones had come from, the Ministry of Defence had no additional comment.

The incident comes after drones and other airspace incursions caused considerable disruption across Europe in recent months.

In September, more than 20 Russian drones entered Polish airspace, and three Russian military jets violated Estonia’s airspace for 12 minutes.

Since then, many drone flights, the origins of which are mostly unknown, have disrupted airspace operations in Europe.

European Commission President Ursula von der Leyen has called the incursions “hybrid warfare”.

Military fires at drones

Separately on Saturday, the Defence Ministry said the Dutch military opened fire at drones over Volkel Air Base in the east of the country on Friday, but no wreckage was recovered.

Security staff at the base reported the drones between 7pm and 9pm on Friday (between 17:00 and 19:00 GMT), prompting the air force to fire ground-based weapons to take them down, the ministry said in a statement.

“The drones left the area and were not recovered,” the statement said.

In recent weeks, a series of incidents involving unidentified drone flights have been reported near military sites in the Netherlands and neighbouring Belgium.

Both the Dutch military and civilian police were investigating, according to the ministry, which said it was unclear why the drones were flying above and around the air base. No further details were provided, citing security reasons.

Volkel Air Base is used by the Royal Netherlands Air Force.

In the Netherlands, the use of drones near all airports is prohibited for flight safety reasons in addition to other security reasons around military facilities, the statement said.

Nov. 21 (UPI) — Bonuses of $10,000 will be awarded to 776 air traffic controllers and technicians with perfect attendance during the 43-day government shutdown.

The extra money was announced Thursday by Department of Transportation Secretary Sean P. Duffy and Federal Aviation Administration Administrator Bryan Bedford. The FAA is part of the Transportation Department.

“These patriotic men and women never missed a beat and kept the flying public safe throughout the shutdown,” Duffy said. “Democrats may not care about their financial well-being, but President Trump does. This award is an acknowledgement of their dedication and a heartfelt appreciation for going above and beyond in service to the nation.”

During the shutdown, essential workers, including those in air traffic control, worked without paychecks.

It ended on Nov. 12 with legislation to fund the government through January.

“I am profoundly proud and grateful for the air traffic personnel who worked during extraordinary operational challenges to keep the NAS running safely during the longest government shutdown,” Bedford said. “Their dedication represents the highest levels of public service.”

Absences caused delays and cancellations of flights, including mandated flight reductions at the largest 40 airports in the United States, which rose to 6%, though there were plans for 10% if the shutdown continued.

Some personnel were required to work six-day workweeks of 10 hours a day. They are on duty for a variety of shifts, including holidays.

Even before the shutdown, there were staffing shortages of air traffic controllers and other essential staff.

Last week, President Donald Trump mentioned the bonuses idea on Nov. 10 in a Truth Social post.

He also threatened to dock the pay of those who called out during the shutdown, telling them he was “NOT HAPPY” with them and “get back to work.”

Selected recipients will receive electronic notification next week, and their payments will be received no later than Dec. 9.

The two agencies didn’t say whether those taking planned vacations or fatigue calls will receive the bonuses, NBC News reported.

The National Air Traffic Controllers Association, which has been critical of staffing issues, said it was informed of the decision on cash bonuses hours before the announcement.

Of these receiving bosses, 311 are represented by NATCA.

“We look forward to working with the Administration to provide the appropriate recognition to those not covered by the Secretary’s announcement,” the union, which represents more than 20,000 air industry workers, said in a statement to CNBC.

The Professional Aviation Safety Specialists, which represents 11,000 FAA and Defense Department workers, including technicians, said it is “reviewing the information that has been provided by the FAA and is evaluating how best to ensure that all employees who worked during the shutdown are recognized.”

That union said 423 will get the bonus. In all, it said 6,000 worked without pay.

“It took many hands to ensure that not one delay during the historic 43-day shutdown was attributed to equipment or system failures,” PASS said in a statement.

There are about 14,000 air traffic controllers in the United States. The median salary for the position, including ones not with the FAA, was $144,580, according to the U.S. Bureau of Labor Statistics. Salaries start at $55,000 to $68,000, depending on location.

They work in control towers, approach control facilities or en-route centers.

Also, there are about 3,400 trainees, including 1,000 initially at the FAA Academy in Oklahoma City.

The mandatory retirement age is 56.

Also last week, Homeland Security Secretary Kristi Noem said Transportation Security Administration officers who screen passengers at airports would also receive $10,000 bonuses for perfect attendance.

“Despite tremendous personal, operational and financial challenges, these dedicated officers showed up to work every day for more than a month, without pay, ensuring the American people could travel safely,” DHS said in a press release.

Nov. 19 (UPI) — Indonesia’s Mount Semeru sent volcanic ash columns 6,500 feet high after erupting Wednesday afternoon, posing a danger to regional air traffic and forcing more than 300 to evacuate.

The eruption occurred at 4 p.m. local time on East Java’s tallest peak at 12,060 feet and triggered a red aviation alert by Australia’s Bureau of Meteorology’s Volcanic Ash Advisory Center in Darwin.

The alert indicates a threat to aviation, and officials at Qantas and Jetstar Airways said they are monitoring the situation but so far have not changed any flights.

The airlines will contact any customers who might be affected if the situation changes.

Virgin Australia also has not cancelled any scheduled flights.

Officials in Indonesia increased Mount Semeru to a Level 4 for volcanic activity, which is the highest warning level and indicates an eruption that is in progress, Fox Weather reported.

The volcano is capable of ejecting pyroclastic rocks as far as 5 miles from its peak, and local officials are prohibiting people from coming within 12 miles of the volcano due to the dangers posed by potential lava flows and clouds of hot ash.

Indonesia has 101 volcanoes and frequently experiences eruptions, according to the Smithsonian Institution Museum of Natural History Global Volcanism Program.

Nov. 8 (UPI) — Federal officials on Saturday canceled more than 800 flights at airports across the United States as the federal government shutdown entered its record-long 39th day on Saturday.

Transportation Secretary Sean Duffy and FAA Administrator Bryan Bedford jointly announced a temporary 10% reduction in flights at 40 high-traffic airports.

They said the reduction in flights is necessary to ensure safety and ease the strain on air traffic controllers, who are working without pay.

“My department has many responsibilities, but our number one job is safety,” Duffy said.

“It’s safe to fly today, and it will continue to be safe to fly next week because of the proactive actions we are taking.”

More than 1,700 flights have been canceled through Sunday — and more than 800 were cancelled on Saturday alone — as commercial airlines reduced their respective flights by 4% at the nation’s busiest airports, according to CNN.

Washington’s Reagan National Airport is affected the most by the flight reductions, with 151 flights canceled among 869 initially scheduled there for a reduction of 17.4%, The New York Times reported.

Louisville, Ky., has an 8% reduction with 12 canceled among 150 flights, followed by Cincinnati, 7.2% and 18 canceled flights among 250 scheduled.

Houston Hobby has 20 of 336 flights canceled for a 6% reduction, followed by Indianapolis, with 17 of 297 flights canceled for a 5.7% reduction, to round out the five most impacted airports.

The flight reductions come after many air traffic controllers and other essential airport staff have called in sick due to increased stress, to work other jobs and to care for their children, among other reasons.

They have missed one paycheck and will again next week if the federal government is not funded and reopened by then, according to CNBC.

The reduced staffing levels are putting more pressure on commercial air operations, especially at the nation’s busiest airports.

“We are seeing signs of stress in the system, so we are proactively reducing the number of flights to make sure the American people continue to fly safely,” Bedford said.

“The FAA will continue to closely monitor operations, and we will not hesitate to take further action to make sure air travel remains safe.”

Somehow in Los Angeles, everything comes back to traffic.

While making their works featured in the Hammer Museum’s Made in L.A. biennial, artists Patrick Martinez, Freddy Villalobos and Gabriela Ruiz set out to capture the essence of the city’s crammed streets through different lenses.

For over a decade, the Hammer has curated its Made in L.A. series to feature artists who grapple with the realities of living and making art here. It’s an art show that simultaneously pays homage to legacy L.A. artists like Alonzo Davis and Judy Baca, and gives a platform to newer faces such as Lauren Halsey and Jackie Amezquita.

This year’s show, which opened last month, features 28 artists. As part of that cohort, Martinez, Villalobos and Ruiz bring their lived experiences as Latinos from L.A. to the West Side art institution, drawing inspiration from the landscapes of their upbringing.

While creating their displayed works, Martinez took note of the many neon signs hanging in stores’ windows, leading him to make “Hold the Ice,” an anti-ICE sign, and incorporate bright pink lights into his outdoor cinder block mural, “Battle of the City on Fire.” With flashing lights and a shuttered gate tacked onto a painted wooden panel, Ruiz drew on her experiences exploring the city at night and the over-surveillance of select neighborhoods in the interactive piece, “Collective Scream.” Villalobos filmed Figueroa Street from a driver’s perspective, observing the street’s nighttime activity and tracing the energy that surrounds the place where soul singer Sam Cooke was shot.

This year, Made in L.A. doesn’t belong to a specific theme or a title — but as always, the selected art remains interconnected. These three artists sat down with De Los to discuss how their L.A. upbringing has influenced their artistic practice and how their exhibited works are in conversation. Made in L.A. will be on view until March 1, 2026.

The following conversation has been condensed and edited for clarity.

All three of you seem to put a spotlight on various elements of L.A.’s public spaces. How is your art affected by your surroundings?

Ruiz: I really got to explore L.A. as a whole, through partying and going out at night. I prefer seeing this city at night, because there isn’t so much traffic. That’s how I started my art practice. I would perform in queer nightlife spaces and throw parties in cheap warehouses. With my commute from the Valley, I would notice so much. I wouldn’t speed through the freeway. I’d instead take different routes, so I’d learn to navigate the whole city without a GPS and see things differently.

Martinez: That’s also how I started seeing neons. I had a studio in 2006 in downtown, off 6th and Alameda. I would wait for traffic to fade because I was staying in Montebello at the time. I would drive down Whittier Boulevard at night. And you see all the neon signs that have a super saturated color and glow bright. I thought about its messaging. None of the businesses were open that late. They were just letting people know they were there.

Ruiz: Specifically in this piece [“Collective Scream”], there’s a blinking street lamp. It reminds me of when I would leave raves and would randomly see this flickering light. It’s this hypnotizing thing that I would observe and take note of whenever I was on the same route. There’s also a moving gate, [in my piece,] that resembles the ones you see when you’re driving late at night and everything’s gated up.

Villalobos: You do experience a lot of L.A. from your car. It’s a cliche. But f— it. It’s true. When I moved out of L.A., I felt a little odd. I missed the bubble of my car. You can have what seems to be a private moment in your car in a city that’s packed with traffic and so many people. It made me think about what that means, what kind of routes people are taking and how we cultivate community.

Patrick Martinez’s “Battle of the City on Fire,” made in 2025, was inspired by the work of the muralist collective, named the East Los Streetscapers.

(Sarah M Golonka / smg photography)

It’s interesting that you all found inspiration in the biggest complaints about L.A. Maybe there’s something to think about when it comes to the way those born here think of car culture and traffic.

Martinez: I see its effects even with the landscapes I make. I’ll work from left to right, and that’s how we all look at the world when we drive. I always think about Michael Mann movies when I’m making landscapes, especially at night. He has all those moments of quiet time of being in the car and just focusing on what’s going on.

Beyond surveying the streets, your works touch on elements of the past. There’s a common notion that L.A. tends to disregard its past, like when legacy restaurants shut down or when architectural feats get demolished. Does this idea play any role in your work?

Martinez: The idea of L.A. being ashamed of its past pushed me to work with cinder blocks [in “Battle of the City on Fire”]. One of the main reasons was to bring attention to the East Los Streetscapers, the muralists who painted in East L.A. [in the 1960s and ‘70s as a part of the Chicano Mural Movement]. There was this one mural in Boyle Heights that was painted at a Shell gas station. It was later knocked down and in the demolition pictures, the way the cinder blocks were on the floor looked like a sculptural painting. It prompted me to use cinder blocks as a form of sculpture and think about what kind of modern-day ruins we pass by.

Villalobos: Speaking about L.A. as a whole feels almost too grand for me. But if I think about my specific neighborhood, in South Central, what comes to my mind is Black Radical Tradition. It’s where people are able to make something out of what other people might perceive as nothing. There’s always something that’s being created and mixed and mashed together to make something that, to me, is beautiful. It’s maybe not as beautiful to other people, but it’s still a new and creative way to see things and understand what comes before us.

Ruiz: Seeing my parents, who migrated to this country, come from nothing and start from scratch ties into that idea too. Seeing what they’ve been able to attain, and understanding how immigrants can start up businesses and restaurants here, speaks so much to what L.A. is really about. It’s about providing an opportunity that everybody has.

So it’s less about disregarding the past and more about making something out of nothing?

Martinez: It ties back to necessity, for me. Across this city, people come together by doing what they need to do to pay rent. It’s a crazy amount of money to be here. People need to regularly adjust what they do to survive. Recently, I’ve been seeing that more rapidly. There are more food vendors and scrolling LED signs, advertising different things. Once you understand how expensive this backdrop can be, that stuff sits with me.

Freddy Villalobos’ “waiting for the stone to speak, for I know nothing of aventure,” is an immersive work in which viewers can feel loud vibrations pass as they, figuratively, travel down Figueroa Street.

(Sarah M Golonka / smg photography)

We’ve talked a lot about how the past affects L.A. and the role it plays in your art. Does a future L.A. ever cross your mind?

Villalobos: I feel very self-conscious about what I’m gonna say. But as much as I love L.A. and as much as it helped me become who I am, I wouldn’t be too mad with it falling apart. A lot of people from my neighborhood have already been moving to Lancaster, Palmdale and the Inland Empire. When I go to the IE, it feels a little like L.A. and I’m not necessarily mad at that.

Ruiz: It’s really difficult to see what the future holds for anybody. Even with art, what’s going to happen? I don’t know. It’s really challenging to see a future when there’s a constant cycle of bad news about censorship and lack of funding.

Martinez: It’s murky. It’s clouded. This whole year has been so heavy, and everyone talking about it adds to it, right? We’re facing economic despair, and it’s all kind of heavy. Who knows what the future will hold? But there are definitely moves being made by the ruling class to make it into something.