CDoupbles :: MilitäREXperte :: NukleaREXperte

 

veroniKATZEkova

Untitled / Ohne Titel (DE / Latin / FR)

(DE: MilitäREXperte, NukleaREXperte = EN: military expert, nuclear expert)

* rex (Latin) = König (DE) = king (EN)

* perte (FR)= Verlust (DE) = loss (EN)

Digitale Collage / Digital collage

2025

CDoupbles :: RüstungSEXperte :: FlüchtlingSEXperte :: MenschenrechtSEXperte :: SanktionSEXperte :: SicherheitSEXperte :: TerrorismuSEXperte

 

veroniKATZEkova

Untitled / Ohne Titel (DE / FR)

(DE: RüstungSEXperte, FlüchtlingSEXperte, MenschenrechtSEXperte, SanktionSEXperte, SicherheitSEXperte, TerrorismuSEXperte = EN: arms expert, refugee expert, human rights expert, sanctions expert, security expert, terrorism expert)

* perte (FR) = Verlust (DE) = loss (EN)

Digitale Collage / Digital collage

2025

CDoupbles :: reGIERung :: wAFFEnhändler :: bundeSAUßenministerium

 

veroniKATZEkova

“reGIERung” (DE)

(DE: Regierung = EN: government; DE: Gier = EN: greed)

Lichtinstallation / Light installation

2015 / 2025

Currently on view as part of the first chapter of the exhibition “wAFFENstillstand in friEDENsgefährdeten Zeiten”

War in Language — Made Visible Through Hidden Words” I

22. November 2025 - 15. January 2026

Display window, Atelier 12, Münzgrabenstraße 24, Graz

In the shadow of the recent government corruption scandals, the light installation “reGIERung” casts it shadows at the right spot. “Regierung”, German for “government” and “Gier”, German for “greed”, is an explosive symbiosis, which describes a form of governance in which greed is a structural principle, not an exception. The state becomes an instrument of avarice, converting public resources, decisions, and institutional power into privately exploitable networks. War becomes an economically rational extension of this logic: territory, arms, and infrastructure are monetised, oversight is replaced by opacity, and the costs are borne by society. The state protects capital, not people. Conflict protects power, not justice. And the public pays for wars from which it derives no benefit.

In the first chapter of the exhibition “wAFFENstillstand in friEDENsgefährdeten Zeiten” (Krieg in der Sprache — Sichtbar durch verborgene Wörter), the light installation “reGIERung” forms a compound scenario with the typographic assemblages “bundeSAUßenministerium” and “wAFFEnhändler.” “bundeSAUßenministerium” plays on Bundesaußenministerium (Foreign Ministry) and SAU (pig), exposing the tension between official diplomacy and corruption, incompetence, or moral filth within state institutions. “wAFFEnhändler” fuses Waffenhändler (arms dealer) with the hidden word Affe (monkey), emphasizing the absurdity, chaos, and moral folly behind arms trading. The golden monkey holds its nose and points toward the cast “Gier.” Together, “reGIERung,” “bundeSAUßenministerium,” and “wAFFEnhändler” form a holy trinity of greed, institutional complicity, and the commodification of conflict. Visually and conceptually, they trace the pathways through which language, power, and profit intersect in times of threatened peace.

“wAFFENstillstand in friEDENsgefährdeten Zeiten” (War in Language — Made Visible Through Hidden Words) is an exhibition with rotating exhibits on the theme of war in local and global contexts. “reGIERung”, “wAFFEnhändler.” “bundeSAUßenministerium” are part of Chapter 1, 22 November 2025 – 15 January 2026. On view 24/7, Display window, Atelier 12, Münzgrabenstraße 24, Graz, Austria.

CDoupbles :: entzWEIBrechende

 

veroniKATZEkova

„entzWEIBrechende“

de: entzweibrechende = en: breaking in two /splitting apart

de: Weib = en: archaic noun for “woman,” now often seen as discriminatory or derogatory.

2024

Intervention on a found object / assisted readymade (antique/vintage papercut, framed)

What a stunning example of how social phenomena such as gender roles are accidentally reflected in language (in this case, German). EntzWEIBrechende comes from the Partizip I form of entzweibrechen — “breaking in two.” The woman splitting in two between childcare and the stove. The Weib, derogatory for “woman,” is in the main role in the word “breaking in two.”

CDoupbles :: MANifesto

 

veroniKATZEkova

„MANifesto“

(ARTIS SOLA DOMINA NECESSITAS)

2024

Intervention on a found object / assisted readymade (Gottlieb Theodor Kempf von Hartenkampf, “Otto Wagner am Zeichentisch”, etching, 1899)

CDoupbles :: chOREOgraphy

 

veroniKATZEkova

“chOREOgraphy” (en)

From the series (“CDoupbles”)

Assisted readymades / Typographic assemblage

2023

View: exhibition "SchAUGEnuss" #28 "gASTRONOMY", Atelier_12_KKB, Graz, Austria.

To be on view 24/7 starting 6 July 2025

Oreo's "Twist, Lick, Dunk" campaign centres around the iconic way consumers enjoy the cookie, emphasising the fun and playful experience of twisting the cookie open, licking the creme filling, and then dunking it in milk. This ritual has been heavily promoted through advertising. The act of twisting, licking, dunking becomes a ritualised sequence, a choreography of gestures repeated across generations and continents.

Eating is never just nourishment—it is also performance. From the ceremonial breaking of bread to the slurping of noodles, food rituals reflect culture, memory, and desire, or simply routine. Every meal has its own score, its own steps, participants, duration, rhythm and speed. Meals TELL STORIES, not only of taste but of nature, labour, pollution, waste, traditions, trends, hunger, obesity, poverty, luxury, joy, solitude, togetherness, ... life. “chOREOgraphy” stages eating beyond simple food intake.

syllaBLEndings :: nazISrael :: naZIonist

 

en
Episode #105 of the "syllaBLEndings" – a reflection on how certain charged terms are increasingly used together – had to be discontinued after repeated agitated reactions. The works “naZIonist” and “nazISrael” were not meant as statements but as an invitation to reflect on linguistic connections and their current political and historical charge. Some say the topic is overused – yet precisely where language grows tired, it most clearly reveals what it carries within.
de
Folge #105 der "syllaBLEndings" – eine Reflexion darüber, wie bestimmte aufgeladene Begriffe zunehmend gemeinsam verwendet werden – musste nach wiederholten aufgeregten Reaktionen vorzeitig beendet werden. Die Arbeiten “naZIonist” und “nazISrael” waren nicht als Stellungnahme gedacht, sondern als Einladung, über sprachliche Verknüpfungen und ihre aktuelle politische und historische Aufladung nachzudenken. Oft heißt es, das Thema sei überstrapaziert – doch gerade dort, wo Sprache ermüdet, zeigt sie am deutlichsten, was in ihr steckt.

veroniKATZEkova

"nazISrael"

syllaBLEndings #105

2025

veroniKATZEkova

"naZIonist"

syllaBLEndings #105

2025

CDoupbles :: psyHOSE

 

veroniKATZEkova

“psycHOSE” (de)

(en. psychosis / TROUSERS)

(“CDoupbles”)

Intervention on readymade (Lederhose*)

2019

* Lederhose—sturdy leather trousers, usually knee-length and with suspenders—are proudly worn as festive symbols of tradition and regional identity in Austria, Germany, and Switzerland.

CDoupbles :: rUSsiA

 

veroniKATZEkova

“rUSsiA” (en)

(“CDoupbles”)

Graphics

2016

CDoupbles :: vaGINa :: virGINity

 

veroniKATZEkova

“virGINity” (en)

(de: Jungfräulichkeit / GIN)

“vaGINa” (en)

(de: Vagina / GIN)

(“CDoupbles”)

Typographic assemblage / Typografische Assemblage

Assisted readymades

2021 / 2025

View: exhibition "SchAUGEnuss" #27, “TypuSEXemplare & KonditionierungSEXperimente” IV, Atelier Zwölf Kkb, Graz, Austria.

To be on view 24/7 starting 19 February 2025

CDoupbles :: STEIRISCHE BRAUTradition

 

veroniKATZEkova

 “STEIRISCHE BRAUTradition” (de)

(en: Styrian brewing tradition / STYRIAN BRIDE)

(“CDoupbles”)

Assisted readymade / Intervention on readymade

 2022

View: exhibition "SchAUGEnuss" #27, “TypuSEXemplare & KonditionierungSEXperimente” IV,

Atelier Zwölf Kkb, Graz, Austria. 

To be on view 24/7 starting 19 February 2025

CDoupbles :: Für·STIN :: KöniGIN

 

veroniKATZEkova

 “Für·STIN” (de)

(en: princess = for·STIN (brand of Styrian gin)

“KöniGIN” (de)

(en: queen / GIN)

(“CDoupbles”)

Aneignung von Ready-made / Appropriation of ready made

Typografische Assemblage / Typographic assemblage

2021 / 2025

View: exhibition "SchAUGEnuss" #27, “TypuSEXemplare & KonditionierungSEXperimente” IV,

Atelier Zwölf Kkb, Graz, Austria. 

To be on view 24/7 starting 19 February 2025

CDoupbles :: CHARME·URIN

 

veroniKATZEkova

“CHARME·URIN” (de)

(en: charmer (female); enchantress; coquette = charm + urine)

(“CDoupbles”)

Diptychon / diptych

Grafik / Graphics

Antike/Vintage-Rahmen /Antique/vintage frames

2025

View: exhibition "SchAUGEnuss" #27, “TypuSEXemplare & KonditionierungSEXperimente” IV,

Atelier Zwölf Kkb, Graz, Austria. 

To be on view 24/7 starting 19 February 2025

CDoupbles :: FUT·UROLOGIE

 

veroniKATZEkova

“FUT·UROLOGIE” (de)

(en: futurology = pussy; cunt + urology)

(“CDoupbles”)

Diptychon / diptych

Grafik / Graphics

Antike/Vintage-Rahmen /Antique/vintage frames

2025

View: exhibition "SchAUGEnuss" #27, “TypuSEXemplare & KonditionierungSEXperimente” IV,

Atelier Zwölf Kkb, Graz, Austria. 

To be on view 24/7 starting 19 February 2025

CDoupbles :: ~·чета

 

veroniKATZEkova
„~·чета“

~·чета (~·cheta) = ~·I read

Typographical installation

Print on paper, groceries, ready-mades

2018

The typographical installation ~·чета (~·cheta – ~·I read) deconstructs the plural diminutive form of Bulgarian words denoting food and everyday objects related to food. These include for example, ананас (ananas – pineapple), домат (domat – tomato), картоф (kartof – potato), бекон (bekon – bacon), салам (salam – salami), чесън (chesun – garlic), шоколад (shokolad – chocolate), тиган (tigan – pan), буркан (burkan – jar) and others.

By a curious linguistic coincidence, many of these nouns take on the diminutive plural ending -чета (-cheta), as in ананасчета (ananascheta) – “little pineapples.” However, чета (cheta) on its own means “I read” in Bulgarian.

~·чета highlights this duality, using typography as a tool for poetic dissection.

It brings various foods, drinks, and spices into focus to explore the existential and philosophical tensions—and connections—between the needs of the physical body and the potentials and demands of the intellect.

 

The installation is part of the exhibition "КАКВО НИ СВЪРЗВА"/"What Connects Us" on view till 22 June 2025 at Sofia Arsenal-Museum of Contemporary Art, Sofia, Bulgaria

CDoupbles :: ~·ям :: ~·I eat :: ~·пия :: ~·I drink

 

veroniKATZEkova
„~·ям“

~·ям (~·iam) = ~·I eat

 e.g.:

сготв·ЯМ = en. I cook/ I EAT

изхвърл·ЯМ= en. I throw away/ I EAT

 поднас· ЯМ = en. I serve/ I EAT

2018

veroniKATZEkova
„~·пия“

~·пия (~·pia) = ~·I drink

 e.g.:

тера•ПИЯ = en. therapy / I DRINK

мизантро• ПИЯ = en. misanthropy / I DRINK

антиуто•ПИЯ = en. dystopia / I DRINK

2018

Exhibition view at Arsenal-Museum of Contemporary Art, Sofia, Bulgaria

Both visual poems are part of the exhibition "КАКВО НИ СВЪРЗВА"/"What Connects Us", on view 24 April - 22 June 2025 at Sofia Arsenal-Museum of Contemporary Art, Sofia, Bulgaria

CDoupbles :: бос·и·лек

 

veroniKATZEkova
„бос·и·лек“

бос и лек (bos i lek) = barefoot and light
босилек (bosilek) = basil

Triptych
2017

part of the exhibition "КАКВО НИ СВЪРЗВА"/"What Connects Us" on view till 22 June 2025 at Sofia Arsenal-Museum of Contemporary Art, Sofia, Bulgaria

CDoupbles :: кур·БАН

 

veroniKATZEkova
„кур·БАН“
кур (kur) – vulgar slang for “dick"
БАН (BAN) – abbreviation for the Bulgarian Academy of Sciences
курбан (kurban) – sacrifice, ritual offering rooted in tradition, Christianized animal sacrifice
Diptych
2023
Typographic installation
part of the exhibition "КАКВО НИ СВЪРЗВА"/"What Connects Us" on view till 22 June 2025 at Sofia Arsenal-Museum of Contemporary Art, Sofia, Bulgaria

CDoupbles :: СУ·пичка

 

veroniKATZEkova „СУ·пичка“

СУ (SU) – abbreviation for Sofia University
пичка (pitchka) – vulgar slang for vagina
супичка (supichka) – little soup

Diptych 2017 Typographic installation

part of the exhibition "КАКВО НИ СВЪРЗВА"/"What Connects Us" on view till 22 June 2025 Sofia Arsenal-Museum of Contemporary Art, Sofia, Bulgaria

CDoupbles :: saLAMAnder

 

veroniKATZEkova

"saLAMAnder"
(en. salamander / LLAMA)

(from the series „Words without Letters“)

2024
Prompt, AI designed image

CDoupbles :: "Beim Gendern entsteht Urin" / “Beim Gendern entsteht Gin”

 

veroniKATZEkova

“Beim Gendern entsteht Urin” (de)

(en: “Gendering produces urine”)

“Beim Gendern entsteht Gin” (de)

(en: “Gendering produces gin”)

(“CDoupbles”)

Visuelle Gedichte / Visual poems

2025

Intervention im Kunsthaus Graz anlässlich des Internationalen Frauentags, 8. März 2025

Intervention in Kunsthaus Graz, Austria on the occasion of international women's day, 8^th of March 2025

On March 8th, International Women’s Day, I placed two visual poems—Beim Gendern entsteht Urin and Beim Gendern entsteht Gin—as independent posters in Kunsthaus Graz. This typographical intervention deconstructs gendered German words ending in “gin” and “urin,” such as KöniGIN and CharmeURIN, isolating their suffixes to reveal unexpected and sometimes absurd linguistic byproducts.

This action is not about Sensibilisierung but rather Thematisierung—it does not aim to prescribe, but to make visible. The overworn gendering discussion, for me, only shifts the focus away from real women’s issues toward a dysfunctional, poorly implemented language reform. By exposing these word fragments, the works invite reflection on the structures of gendered language and the unintended meanings they create. At the same time, the contrast between “urin” and “gin” introduces humor and irony, allowing engagement without rigidity.

As an artist active professionally for around 25 years, I often grow tired of constantly asking—for cooperation, for hosting, for permission, for funding … It is like dying while waiting. This system kills spontaneity, dulls the actuality of artistic expression, and removes the possibility of being truly on the pulse of the times.

March 8th is a day of speeches, demonstrations, and statements. This was mine—quiet, unsanctioned, but unapologetically present. By placing these posters without prior approval, I align with a broader artistic tradition of intervening in public and institutional spaces. Language, like space, is not neutral—it is structured, coded, and often contested. This action playfully yet critically engages with these structures, raising questions rather than offering fixed answers.

Intervention view

“Beim Gendern entsteht Gin” (de)

(en: “Gendering produces gin”)

detail

“Beim Gendern entsteht Urin” (de)

(en: “Gendering produces gin”)

detail