Harvested darkness 
Synagogue Košice, SR in cooperation with VSG East Slovak Gallery

with and by Bjornsonova clollective : Lucie Mičíková, Nik Timková, Lucia Kvočáková 
and curator : Viktor Čech

The project of the authors Lucie Mičíková, Nik Timková, Zuzana Žabková and the art historian Lucia Kvočáková called Harvested Darkness created within their “Björnson“ collective renders, above all, a definition of a place. A place in multiple layers and meanings of the word.Their intervention into the premises of the Košice Synagogue embraces not just their creative dialogue but also a place of interconnection where their collective imagination builds further layers.The depth the artists articulate is not physical; it leads to places where the presence could be projected only by shared collective experience.The installation formed by their own architectonic solution, visual elements and projections entices the visitors to immerse into comfortable darkness located elsewhere than the Cartesian bodily presence.It is a place of shared imagination where the heat of togetherness forms a new ecosystem, fruitful humus where the humanistic construct of the subject is melted into a fertile synthesis with the surrounding darkness.

 Viktor Čech

Level I:Areas Beyond the Cosmological Horizon

The corridor led straight and those who went through could easily attain a false sense of security.Suddenly, her hand that kept touching the rock touched the void.There was a stone margin, an edge, and then just emptiness.

An infinite universe contains an infinite number of observable universes.The same laws of physics and constants hold true in all of them.However, in such configuration as the distribution of matter, almost all of them differ from the universe we are able to observe.Even so, there might be universes with a similar or the identical configuration because there is an endless number of universes very far beyond our cosmological horizon.The observable universe, which is identical with the one we know, is 210(118) meters far from us.Supposing the universe has no end, there is an endless number of such observable universes identical with the one of our own.

The dust is slowly falling down and a ray of light is penetrating it:a curious golden glitter, as if shining rain was falling around it.It is enough for awakening a fear in her because it is illuminating the left part, a place where everything falls or flows as a river down the edge of a waterfall.The falling dust radiates as a huge fair light column and continuously falls into an endless abyss.

The more it descends the more the dusted light brightens the gloriole of the golden mist.What if the dust slowly leaked through the wounds cut in the nature by the mysterious knife.

She has not seen it herself but they say it is a gate into the world of spirits.It has been known for centuries – it is a part of the initiation ceremony of the shamans – the candidate must pass over to the other side and bring some trophy.Every now and then some do not come back.

Level II:Universes with Different Physical Constants

A violet ocean has its bed covered with huge stone balls.Lightnings are striking on the island sticking out of the sea as a horn as it is covered by cast iron rods. From a distance it looks like a sea urchin.

Since the catastrophe when the worlds were opened the polar ice started melting and weird ocean currents started flowing. The ocean was denser and denser. Now that I am wading through it, it is as dense as creme.

In the chaotic inflation theory, the multiverse as a whole is stretching and will keep on doing so forever. Some regions of space, however, have stopped stretching and form distinct bubbles. Such bubbles are the embryonic Level 1 multiverses. There are around 1010(10000000)of such universes. In each of the bubbles there is a different spontaneous symmetry breaking which results in different properties of the bubble, such as different physical constants.

An endless hall leads into wide space. It is fanned with more and more air and absorbed by deep darkness. It enters into a huge dome under the tombstones. Noise is resonating through a huge but stationary black bubble of air: there is some trembling or vibration, a sound heard in the blood and felt in the bones.

At last she hits a rounded metal rod with her fingers. She halts and keeps fingering the iron until she gets at a handle made of coarse iron. Very swiftly, with all her force, she pulls the rod down. Very loud roaring and cracking resounds and a shower of blueish sparks gushes out.

Level III: Many-Worlds Quantum Mechanics Interpretation

She crosses the footbridge and continues into a long rock corridor where stalactites are hanging. They emanate strange colours. The roaring and cracking sounds have ceased. 

The Level III multiverse does not contain more possibilities in the observable universe than the Levels I and II. In reality, all possible worlds formed by the division of the multiverse of the level III with the same physical constants could be found in some of the observable universes of the level I. The difference between the Level I and the Level III is where the doppelgangers reside. In Level I they live elsewhere in three-dimensional space. In Level III they live on another quantum branch in infinite-dimensional Hilbert space. Similarly, all Level II bubble universes with different physical constants can, in effect, be found as worlds created by splits at the moment of spontaneous symmetry breaking in a Level III multiverse.

She silently enters the narrow corridor and opens the first door she bumps into. They belong to a room leading into a street. It is hot and musty so she opens the glass door into the balcony and fills the room with some evening air. The room is not so big and its furniture is robust and shabby. A home of hospitable people. On the wall there is a shelf with flowers and a few framed photos and an old book on the table. It is open. She wanders on the page 86. A description under a strange card is slowly fading away.

A black line is entering the space, leaves the paper creating abstract patterns tapping into a spiral.

Level IV: Other Mathematical Structures 

This level considers all universes to be equally real which can be described by different mathematical structures. Abstract mathematics is so general that any Theory Of Everything which is definable in purely formal terms is also a mathematical structure. A Theory of Everything involving a set of different types of entities and relations between them is nothing but what mathematicians call a set-theoretical model, and one can generally find a formal system that it is a model of. That means thatany conceivable parallel universe theory can be described at Level IV and subsumes all other ensembles.

Everything else, from one horizon to another, is of a monotonous mustard colour except from the mountains covered with sage flower buds giving them the touch of metallic blue. Blue dust is slowly falling from the sky. 

She lies in a boat steered by a spell above huge depths and looks above into the darkness. For her whole life she keeps looking into the dark - but this darkness is the night of the ocean – it is violet. Endless. Roofless. It is expanding beyond the stars. Terrestrial forces hold no power over it. It was here before the light and will persist after it. It was here before the life and will persist after it. It is expanding further and further, beyond the evil itself.

I came from a different world. Really. I came into your world through another. 

Lucia Kvočáková 

Bodies in Trouble 
Fuga, Bratislava, SR

with and by Eva Priečková 
set design : NIk Timková
light design : Jozef Čabo
specialt Thanks to : Rezi.dance Komařice, Jakub Juhász 

We have met to dance....
ZZ: I'm eating chips and having a period.
I fell on the floor.
EVAA: We failed because of many errors. 
ZZ: My acephale body hugs you.
EVAA: Emotional error during bloody moments.
ZZ: We put the head in the corner. Dirty dancing, Phenomena.
EVAA: I like to eat earth.
ZZ: I'can't watch any horror movies.
EVAA: Coming back to earth through Labyrinth.
ZZ: My pitched voice is too scary.
EVAA: Moon, sun and our bodies in triangle.
ZZ: Their set and rise is exactly the opposite. Full moon cycle. collective trouble.
EVAA: Collective trouble.
We are the most beautiful after the period. Headless, poor and obscure.

The Melancholy of Marissa Cooper 
AVU, Prague, FUGA, Bratislava. SR 2018

with and by Nik Timková

dj set with dj, dancer and the text intervention

Peeing arcs and vulgar plants 
EVIL TWIN SISTER, Botanical Garden of the Jagellonian Univarsity, Krakow, 2018

curators: Piotr  Sikora and Anna Pichura
audioguide reading in botanical garden  

peeing arcs  
and vulgar plants

twin sisters are double rainbow 

Her skin has a color of magenta which is an extra-spectral colour, meaning that it is not found in the visible spectrum of light. Rather, it is physiologically and psychologically perceived as the mixture of red and violet/blue light, with the absence of green.[5]


The inner environment of her body contains a rainbow. The base of the rainbow begins in the red root area placed in her genitals stimulating her basic truth capacities. Smoothly continuing into the upper part of her body there is an orange area situated under her belly bottom stimulating her sexuality and creative capacities. The yellow area found in solar plexus empowers her wisdom. Slowly moving upwards one can locate a green area placed in the level of her heard enabling exploration of her love and healing capabilities. The blue area located in her throat underlines her communication skills. Her third eye is the area of indigo color triggering her awareness. The end of the rainbow is situated in her crown. It is a purple area broadening her spirituality. 


If you imagine the end and the beginning of the rainbow which is red and blue area, the magenta color connects this end and this begging from the outer side of the rainbow.  It connects it in an imaginary manner. It’s a fictional color. Her skin is a fiction.


twin sisters are simply a double rainbow.
Every rainbow is a double one, but in order to see the fainter second one .. one  needs a very bright sun or really dark cloudy background.

what does it mean, what does it mean?
what you see in her it’s you. that’s what it means. 

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her genitals are the symbiont of orchid flower and vulva. the basic pollination arouses her sexual pleasure. her genitals are formed by lips placed in a specific irregular dispositif having variable functions. 

God sent the symbol of rainbow to Noah in order to promise people that he will never create another destructive global flood. 
Yosemitebear62 on 8th January 2010 saw the Double rainbow which gained a worldwide popularity. 

We used to call sky the ceiling and dreamed about the house without the roof  
There are two circular gaps in the ceiling. It’s dark cloudy weather.
twin sister appears on the ceiling. 

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her lips serves to attract insects, which pollinates her, and acts as a landing platform for them.  
her labium or so called labellum is the modified median petal that sits opposite from the fertile clitoris and is usually highly modified from the other petal segments. 
It is not unusual for the other two lips to look like the sepals, so that the labellum stands out as distinct. 

On the front, each lip a petal forks dividing into two portions surrounding clitoris 

The upper part of each lip passes above the clitoris to meet the upper part of the other lip—which will often be a little larger or smaller thick moist petal which overhangs glans clitoridis. 

The labellum is often united with the column and can be hinged or movable, facilitating pollination and her sexual stimulation. Often, the labellum is divided into three or more lobes. Some have modified fleshy lumps on the upper surface of clitoris, with some being divided into multiple ridges or a central keel - the tongue. 

When the clitoris is flat and broad, it is sometimes called a plate, which can have fringed margins. The clitoris can be highly modified with striking colors that may aid in pollinator deceit and mimicry.

This floral hood is very sensitive to the touch and serves to cover most of the time the shaft and sometimes the glans to protect it from mechanical irritation and from dryness. 

Yet the hood is movable and can slide during erection or be pulled upwards a little for greater exposure of the floral hood to pollinate stimulation.

Stimulation of the clitoris occur through tension of the floral hood by inner labellum pulling at them. 

During pollinate sexual arousal they are lubricated by the pollen mucus secreted by blooming glands and around it to make pollination painless and protect them from insect's irritation. 


Like the whole area of her floro-vulval vestibule, the mucus secreted by blooming glands protects her labellum from dryness and mechanical irritation, 

The inner lips serve to protect from dryness and infections the highly sensitive area of the floro - vulval vestibule with rhizo-vaginal openings in between them.  


She likes to pie in public spaces. It is not unusual that when she pies or pukes or manifest any kind of ejaculation it mostly comes in a form of a mashed rainbow 

excreting arcs  
vulgar plants

she tickles her skin which is still a fiction


Harvesting darkness 
exhibition in FUTURA GALLERY, residency in Meeetfactory, Prague 2018

curator : Viktor Čech 
with and by Lucka Mičíková, Nik Timková 

installation: tv screens, objects, projections 

In their joint exhibition Harvesting Darkness, artists Zuzana Žabková, Lucie Mičíková and Nik Timková transform a part of the Futura Gallery into a setting where the viewer can experience their imaginative attempt to trade our self-destructive civilisation for a dark organic world in which new possibilities for existence may flourish. Working at the intersection of the artists’ own idiosyncratic aesthetic expression, discourses of post-human thought, and speculative fantasy literature, the artists try to create a synthesis in which the viewer is also involved.

Viktor Čech

BnMW #burnnomorewitches
performance in FUTURA GALLERY, park Kinských, Prague 2018

with and by Kata Halmen Bodoki, René Alejandro Huari Mateus, Laura Eva Meuris, Lucka Mičíková, Eva Priečková, Nik Timková

5 hours long perfromance walk during Witches day and full moon

The word ‘darkness’ may cause negative feelings in some, conjuring ideas of emptiness and fear. Darkness is what the representatives of the Enlightenment movement of the 18th century considered to be the source of ignorance, evil and negative emptiness. Darkness is a place where the gaze can’t reach, and neither can reason and order; it is a hideout for everything and everyone wanting to escape the spotlight of modern reason and technology-based culture built by the masculine subject.
Darkness can be found in the empty spaces of the universe above us and, especially, beneath our feet: consider parables where underground is seen as underworld, hell, a place devoid of the life-giving rays of the Sun. It is inextricably linked to darkness.

On the border of light and darkness, of animate and inanimate, there exists a very thin layer: the existential basis of most life on this planet. Life, emerging from this fertile layer constantly enriched by the dying biological material and corroding geological structures, returns, again and again, to its active role. Hummus is the environment in which this constant metamorphosis occurs; it is both life-giving material and the process itself. Hummus is the intersection of biological species and states of being, of organic and inorganic. The processes taking place in it have inspired the modern movement promoting sustainable approaches of human life to nature and economy as well as human presence in this world.
However, permaculture can include the human as such and social behaviour, as well as entire structures of human communities and their social relations.

The artificially created permaculture environment of compost is a convenient parable for the means of coexistence. In fact, Zuzana Žabková, Lucie Mičíková and Nik Timková seem to convert the underground space of the Futura Gallery into an analogy. Their project results in an intersection of two worlds: “our” world which is rationally categorised by the distant masculine subject and the organic labyrinth where the artists become goddesses performing a symbiotic ritual in which our aesthetic, biological, and existential realities merge into the diverse flow of the experienced present.

Here, humans are not (in the traditional humanist perspective) a being separated from the nature; rather, they are symbionts sharing the process with other entities and with the entire setting. Thus, humans become citizens of Terrapole where culture, technology and nature become one again. This vision is experienced now and here via the creative approach of its authors, be it at the gallery exhibition or at the occasion of a ritual performed on the last day of April at the during an intense night charged with numerous cultural archetypes.

The touch was the only guide 
Berlínskej model, Prague CZ 2018

with Nik Timková and Bjornsonova

the night long reading of Ursula Le Guin's Tombs of Atuan

Dreams of burning puppets 
Tranzit gallery, Bratislava, SR 2018

curator : Eliška Mazalanová
perf. 40 min


This performance, designed as a layering and mixing of several methods of spiritual development and therapeutic practices, which ZZ combines with contemporary dance and performative lecture elements, emphasizes self-awareness methods such as meditation, hypnosis and somatic techniques. Although the performance focuses on the individual, it also touches on the folds in which individualism and the collective spirit overlap. 

Zuzana Žabková draws inspiration from folk mythology and the upcoming spring solstice. In terms of folk traditions as well as new mystical and religious movements such as neo-Paganism, this is a semantically and symbolically full moment representing a significant milestone in the transition from one state to another, purification and a new beginning. ZZ revives pagan rituals and ceremonies – such as the burning of the Morena (Marzanna, pagan goddess) in Slavic tradition – with the intention to create a symbolic temporary space, an “other temporality” which rejects the linear concept of time in favor of a cyclical but permanent and unchanging time of ritual.