Coming soon:

Triangle solo, at Ha Theatre, Brno, Czechia

Cecilie, at Kiosk Festival, Zilina, Slovakia
Females, January 2022, Academy of Performing Arts, Prague, Czechia
Females is time - unlimited, sound - visual installation for any toilet experience.
Females is an installation based on two seminal manifestos of feminism - Donna Haraway, Cyborg Manifesto and Valerie Solanas, Scum Manifesto. In the installation, through the manifestos, we explore and create a post-apocalyptic world where plants have replaced animals - humanity, and tell the stories of the past and the myths of the animal - the man who once existed and thought he controlled the world. Donna as a fern, Valeria as a fly trap. The sound installation is complemented by live plants in small dirty spaces (toilets, subways) trying to tell people at speed the myths about them and how they left only "a pile of shit" (Solanas, Scum Manifesto).
By: Donna Harraway, Valerie Solanas, Anna Dobiasova and Veronika Risnovska

Stage design: Anna Dobiasova

Sound design: Veronika Risnovska

Dramaturgy: Adam Dragun

Technical support: Imrich Pisarovic, Richard Grimm
Ziadza sa my, July 2021, Old Synagogue, Zilina, Slovakia
Ziadza sa my is a durational sound performance piece which works at random.

It explores a topic of broken heart and through dancing a slow dance performers with microphones tied around their bodies create a load acoustic feedback that sometimes reminds whales songs, sometimes techno, sometimes just unbeareable high pitched noise.
By: Bolka and Veronika Risnovska
How Fascist faces an Open Sea, September 2020, Promise of Kenopy, Bratislava, Slovakia
In his essay, Filip Brzeźniak discusses the conflict between fascism and a world changing due to the climate crisis, taking corporeality as the focal point of this conflict. More than a historical idea, fascism for him is something that "grows out of the body".

"What does a fascist do when faced with an open sea?" is a performative lecture made up of a collective of non-actors. Much closer to a rehearsal of a punk band than to a classical theatrical process, the creation of this piece resembles a rehearsal of a punk band.

By: Filip Brzezniak, Adam Dragun, Sara Gottnisova, Alica Fussiova and Veronika Risnovska

Soud design: Veronika Risnovska and Imrich Pisarovic

Technical Support: Imrich Pisarovic
*click on any photo to hear or see
*click on any photo to hear or see
Is technology “political”?
Technology is a myth. It is believed to organise itself, to hold power over us.
But Technology is made by people.
That is the political.
Is that the political?
The town meeting is the most basic principle of action, in which people can organise their affairs face-to-face.
What happens with internet protesting?
There is a new way of protesting on the internet where you create an event and everyone clicks on interested or going but there is a possibility that no one will show up. How does this setting events on facebook change the actual action that is being taken in physical space?
And how does this facebook event actually have to do anything with an actual event?
Technology does not steer, people do.
Images and information do not represent and steer, people do.
(german) The town meeting is the most basic principle of action, in which people can organize their affairs face-to-face. Is this how action and power come together?
(german)
Fines are a necessary evil for society to function.
Are fines just bureaucracy?
We all stand in solidarity.
But many people dismiss such a practice, regarding its principle with cynicism, reducing it to hollow terms like “discourse,” “consensus” or “participation.”
We are all different. We are equal.
We all could have made this performance. It would have only turned out differently.
(german) Real politics is the antithesis of bureaucracy and office.
(english) Real politics is hidden under a barrage of protocols and information.


Solidarity piece, December 2019, Performance Factory, Berlin, Germany
Interactive performance without actors about technology and humans coming together.
By: Nele Paetzold, Adeeb Hadi and Veronika Risnovska

Animation by: Adeeb Hadi

Sound Design by: Veronika Risnovska
*click on the text to hear or see
The I Show, May 2019, Kule Gallery, Berlin, Germany
The I Show at Kule Gallery in Berlin was examining the role of alteregoes in the notion of western art as well as identity politics behind the alter egos. Together with my mentor, curator Dorothea von Hantelmann, we have curated this group show of emerging artists and created an interactive guide to the exhibition in a form of bar where visitors had to roleplay with my character of trashy cyborg, and answer my riddles which aimed to get the visitors to interact with the exhibitions and artworks in it in a different way than a usual white cube gallery.
Electronic City, December 2019, Performance Factory, Berlin, Germany
Electronic City was a live sound installation dealing with the topics of love and capitalism in the form of a long techno party. Lines from the play of Falk Richter are be echoing during techno, the theatre is turned into a club where everybody could dance, while occasionally hearing sentences of the play, characters in rush, in love, trying to remember numbers, make relationships, always hearing sounds of phones, beeping, voicemail, atms, planes, explosions. It is an attempt to explore the hollowness of the Berlin club scene, underground movements and disability to connect in the times of capitalism.
Portrait of a Krajinka, August 2019, Theater Poton, Batovce, Slovakia
“Portrait of A Krajinka” is a performative audio walk through the village of Batovce, composed of the sounds of the local landscape and interviews with the villagers on the topic of belonging.
Concept: Ronni Shalev and Veronika Risnovska

Directed by: Veronika Risnovska

Animation by: Ronni Shalev

Performed by: Victoria Valaskova

Sound design: Veronika Risnovska and Imrich Pisarovic

Technical support: Imrich Pisarovic
Your coordinates could not be located, December 2020, Next Museum, Online, Germany
*click on the picture to hear
The stagnant, two-dimensional map is lacking in a particular experiential, auditory dimension. A visual supremacy takes hold, which dominates the auditory, and sound is simply seen as a by-product of a static environment. The map is a cartography of the flat; it fails to speak to what it is like to move through a city. Sound, on the other hand, is a physical modality—the subject is ‘touched’ by a sound wave. In this way, sound creates an alternative cartography, one that physically links its participants. Another dimension that is missing to the traditional visual map is time, which is the only way to understand sound. Visual maps do not convey the dimension of time and as such lose this particular temporal experience of a city.
Attempt of creating an audio map of the area of Westhafen, Berlin, Germany
By: Claire August, Jude Macanuco, Hana Bargeer and Veronika Risnovska

Soud design: Veronika Risnovska

Sound mixing: Bolka
*click on the image to see and hear
By: Falk Richter and Veronika Risnovska

Sound design and performance: Veronika Risnovska

Voices: Hanna Bargeer and Danny Dubner