Multi channel video installation at Galerie 209, Brno


The collection of last year’s 3D animations’ interpretation field is floating around a metaphorical social suicide placed in a viewport. The contradiction between a malfunctioning virtual entity and its nondestructive surrounding (software) plays an important role in the artworks decoding: stages from the creation of a parasite self through its delusive enbodyment; fake duality and finally the fragmentation as its disappearance. Each video is a handheld camera recording of the monitor screen during the running simulation in a graphics software.

Demolish Nimova

Stress may manifest in a schizophrenic cerebration caused by the difficulty in decision-making, if the self is not flexible or assertive enough.

This malfunction provokes a meta-existence: an added illegitimate layer, a persona, to the base personality. This additional layer – let us call it parasite – coexists with the ‘original’ self but only as a hologram.

In my case, this parasite, the artistic alter-ego or persona is a mixture of a hardly definable socio-political pressure on an artist living in the 2010’s Budapest art scene and the mixture of Boris Groys’ term self-design.


The creation and the usage of this hologram-like, intruder persona as an artistic practise calls a fresh look at the beginning: a new, more conceptual perspective and it offers a comfortable position – invisibility or rather a moral independence – for the author by temporarily overshadowing the base character.


It works as a social suicid act at the beginning but after a while it legitimates more or less its (co)existence or parazitism. When this legitimization is finished, the stress between the two selves is absorbed, and this additional layer, which used to behave as a shield too, is no more an intruder – it becomes a brandname (Nimova) and officially divides the artist into two legitimate parts. In this very moment there is a balance, an equality between the two selves (Nimova Projeckt behaves a synonym for Veronika Romhány and vice versa). But this legitimization requires apperception as well and acceptance from the original self. When this process finishes, the schizofrenic cerebration as a helping function disappears – as a result of its internalization. And the parasite layer starts to liquidate itself unconsciously. Only the name remains.


The installation in the darkened gallery space is a video collage – with several tvs and beamers placed and sticked closely next to each other on the wall. In these videos – the virtual space i.e. the software’s viewport – behaves more or less as a prison from the narrator’s point of view. All of the videos aim to draw up a struggle: a struggle of a fictive, only virtually existing personality. All the scenes play around with repetition, disillusion, catatonia and fear.