Johan Buskov Romme (b. 1984, Nibe, Denmark) lives and works internationally. Drawing on the theoretical framework of relational aesthetics, art brut, and process art, Buskov’ practice concentrates on participatory art, sculpture, and sound. His research focuses primarily on phenomenology, and examines how physical and environmental stimuli can impact one’s state of awareness and perception. His work is based on experimentation processes that investigate foundational aspects of material structure and cognition, and create situations and experiences fostering cohesion between consciousness and materiality, sense of self and community.

Artist quote: “As an artist I explore chaos and endlessness as subjects that speak to our conception of origin and truth. Like a scientific researcher posing questions about the origin of the universe, I pose similar questions of origin in relation to materials and the elements they are composed of. Within the perceptive field of materials I seek for endlessness in detail because it provides multiple layers of information. It proves to me that there is no singular answer to any given question. Everything is part of the same and everything looks different at different points of view”. - Johan Buskov Romme

At the end of his stay, Romme did an intervention with Nicole Ross at aqb Mines titled Game : Hide.

Light falling on the entrance of Art Quarter Budapest's obsolete mine shaft narrows the range of perceivable stimuli. Here begins an approximately 4.8 km network of labyrinthine tunnels untouched by the sun. The minutiae of mold, dust, and surface cracks reverberate this sensory enclosure - as do footsteps - as do breaths. By narrowing the parameters of sensation, the sense of one's own boundaries can be destabilized. In disintegration, there comes an opening for something else.
Our interventions into this echo-zone are slight, tricky gestures that prod this destabilization. These are our attempts to coax out the latent life-decay-afterlife present in the defunct mine, framing the presence of the space itself. Found objects nestle in found holes, whispering their presence as timid ghosts. Carefully constructed dust piles are laid like traps, at first glance seeming anterior to the artwork. The work is sublimated into the residue of the hillside's extractive past.
As the work moves deeper into the shaft, we tempt the audience to be lured into the fearful cold damp. Unfolding in near total darkness, our installation amps up its theatricality as dirt-encrusted foams and fabrics are twisted into a tableaux amongst rubble. Things vibrate and mutate in this darkness, actualizing into animate repose. The shaft is also a womb.
The result of a weeklong collaboration between our practices, we present this show as a kind of game. We ask the audience to consider what is natural and what is staged, what is known and what is unknown, what is signal and what is noise. We extend an invitation to enter the dark where eyes play tricks and where, amongst ruins, one can find the threshold to something new.