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We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

We would like to invite you to the opening of the Czech and Slovak Pavilion, presenting The Silence of the Mole, a project by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko , curated by Peter Sit @sssitdownnn

This joint representation marks the 100th anniversary of the pavilion, which bears the name of a country that no longer exists—Czechoslovakia. In this sense, the exhibition takes place within the pavilion of a “fictional” country, a condition that, in the current political climate, can be understood as both a metaphor and a possible point of departure for thinking about future forms of national representation.

Opening: Giardini, May 7, 3 pm

Unfortunately the project title will not appear on the pavilion’s facade. Its visual identity continues inside the pavilion across the exhibition, including a catalogue designed to be handled and experienced physically, all carefully designed by Jan Brož @imageneered

We look forward to welcoming you.

————————————————

Czech and Slovak Pavilion | La Biennale di Venezia 2026 @labiennale
Organized by: NGP @ngprague
In collaboration with: SNG sng_gallery
Supported by: Ministry of Culture of the Czech Republic @minusterstvokultury,
Ministry of Culture of the Slovak Republic ministerstvo_kultury.sk
Partner of the pavilion: J&T Banka
@jtbanka_cz @jtbanka_art
Commissioner (CZ): Michal Novotný @michal_novotny

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

A glimpse inside the catalogue The Silence of the Mole for the project by @jakub.jansa and @selmecikockajusko

Published by the National Gallery Prague.
Edited by Peter Sit @sssitdownnn in collaboration with Michal Novotný @michail_novotny . With contributions by Tereza Dodokova @prievan , Aaron Schuster @aaronschusterov , Steve Goodman @kode9 and @intuitive.practice

Catalogue design by Jan Brož @imageneered . Typeface: Rhymes and Rhymes Condensed by Jakub Samek @jakubsamek.info of @maxitype_com . Photographs by @shotby.us , @ryon_storyteller

Special thanks to the Publishing Department of the National Gallery Prague and @tiskarna_helbich for their careful production.

The catalogue will be available from the preview days, May 6–8, at the @labiennale bookstores.

“In 2026, the Czechoslovak pavilion in the Venetian Giardini celebrates its hundredth anniversary. It is a somewhat peculiar jubilee, since the country whose name is displayed on the pavilion no longer exists. In 1993, Czechoslovakia was dissolved into two states, the Czech and the Slovak Republics. Since then, the pavilion, in its unassuming yet dignified architectural presence, has endured questions over how it should be split or expanded, to adjust it to the logic of fragmentation, separation, and competition so characteristic of the world today. Yet what better way to honor a centenarian on its birthday than to bring back to life, even if temporarily, the pavilion’s original spirit of geopolitical collaboration, which was once rooted in an anticipation of a shared future? Hence, this Czecho-Slovak collaborative project… is a humble attempt to do precisely that.”

Excerpt from Peter Sit’s curatorial text in the catalogue for The Silence of the Mole at the Czech and Slovak Pavilion, Venice Biennale 2026.

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

1918–1938: Toward Modern Architecture:
Book launch, 13. 4. 2026, 3–5 p.m., @vila_volman

The catalogue of interwar architecture from the NGP Architecture Collection presents key phenomena of modern life and life style, as formulated by Karel Honzík no later than the mid-1930s, as “certainty of expression” and “the uniqueness of the modern life” (Za novým životním slohem, 1945). Modern forms include architecture, art and intangible forms of social interaction, clothes, gestures, etc. Six chapters focus on the themes of international exhibitions, housing, work (Taylorism, factories), finance (banks), city life (city palace with cinema, theatre; hotel; cafés and bistros) and the modern body (sports, health – sanatoriums). Thematic double-page spreads indicate discursive shifts and present new research efforts. The book’s chapters exemplarily reflect works from the collection of the National Gallery Prague, architects such as František A. Libra, Karel Janů, Antonín Heythum, Milada Petříková-Pavlíková, Ferdinand Fencl, Augusta Müllerová, Josef Hrubý and others. It is published for the exhibition of the same name.

Authors: Vendula Hnídková, Marta Filipová @filipovamarta, Helena Huber-Doudová (ed.) @lena37258, Markéta Svobodová, Barbora Řepková @baaarbar, Yvette Vašourková @yvette_vasourkova, Lenka Kerdová, Nikola Zahrádková @nikyzahr, Lenka Popelová, Klára Ciesarová @klara_ciesar, Kateřina Mazačová @mazacova.73

Graphic design: Jan Brož @imageneered

Foto: Katarína Hudačinová, NGP

We are grateful to be working with Jan Brož @imageneered on the visual identity, poster, and catalogue for The Silence of the Mole, presented in the Czech & Slovak Pavilion at the upcoming Venice Biennale. @labiennale

The project, which I have the pleasure of curating, brings together artists Jakub Jansa and Selmeci Kocka Jusko, in collaboration with commissioner Michal Novotný of the National Gallery Prague. @jakub.jansa @selmecikockajusko @michail_novotny

The typography was developed in dialogue with Jakub Samek of Maxitype, using his forthcoming typeface Rhymes Condensed. @jakubsamek.info @maxitype_com

More soon — see you in the Giardini.

I always dreamed to have original posters for my films and 5 fabulous graphic designers, who I admire since years, made this dream come true for 𝕻𝖆𝖗𝖔𝖉𝖎𝖊 @cnacmagasin . Couldn’t expect more beauty. Dirty Shirley @imageneered , the Jester’s trilogy @roxannemaillet , Who wants to be my horse? @toan_vu_huu , Strakati @xilo.center and Miles @alicegavin.xyz . Thank you so much to these talented and beloved persons, to accept the challenge and our conditions. Thanks to @benqcs_sproovetechs for the realisation of 𝐊𝐢𝐧𝐨, the fab metal piece conceived for their works and @longtermhandstand for the assistance . Thank you thank you thank you ♥️. Parodie is curated by @celine___kopp , assisted by @alexia_pierre 🍀. Pictures: @verdikt11

I always dreamed to have original posters for my films and 5 fabulous graphic designers, who I admire since years, made this dream come true for 𝕻𝖆𝖗𝖔𝖉𝖎𝖊 @cnacmagasin . Couldn’t expect more beauty. Dirty Shirley @imageneered , the Jester’s trilogy @roxannemaillet , Who wants to be my horse? @toan_vu_huu , Strakati @xilo.center and Miles @alicegavin.xyz . Thank you so much to these talented and beloved persons, to accept the challenge and our conditions. Thanks to @benqcs_sproovetechs for the realisation of 𝐊𝐢𝐧𝐨, the fab metal piece conceived for their works and @longtermhandstand for the assistance . Thank you thank you thank you ♥️. Parodie is curated by @celine___kopp , assisted by @alexia_pierre 🍀. Pictures: @verdikt11

I always dreamed to have original posters for my films and 5 fabulous graphic designers, who I admire since years, made this dream come true for 𝕻𝖆𝖗𝖔𝖉𝖎𝖊 @cnacmagasin . Couldn’t expect more beauty. Dirty Shirley @imageneered , the Jester’s trilogy @roxannemaillet , Who wants to be my horse? @toan_vu_huu , Strakati @xilo.center and Miles @alicegavin.xyz . Thank you so much to these talented and beloved persons, to accept the challenge and our conditions. Thanks to @benqcs_sproovetechs for the realisation of 𝐊𝐢𝐧𝐨, the fab metal piece conceived for their works and @longtermhandstand for the assistance . Thank you thank you thank you ♥️. Parodie is curated by @celine___kopp , assisted by @alexia_pierre 🍀. Pictures: @verdikt11

I always dreamed to have original posters for my films and 5 fabulous graphic designers, who I admire since years, made this dream come true for 𝕻𝖆𝖗𝖔𝖉𝖎𝖊 @cnacmagasin . Couldn’t expect more beauty. Dirty Shirley @imageneered , the Jester’s trilogy @roxannemaillet , Who wants to be my horse? @toan_vu_huu , Strakati @xilo.center and Miles @alicegavin.xyz . Thank you so much to these talented and beloved persons, to accept the challenge and our conditions. Thanks to @benqcs_sproovetechs for the realisation of 𝐊𝐢𝐧𝐨, the fab metal piece conceived for their works and @longtermhandstand for the assistance . Thank you thank you thank you ♥️. Parodie is curated by @celine___kopp , assisted by @alexia_pierre 🍀. Pictures: @verdikt11

I always dreamed to have original posters for my films and 5 fabulous graphic designers, who I admire since years, made this dream come true for 𝕻𝖆𝖗𝖔𝖉𝖎𝖊 @cnacmagasin . Couldn’t expect more beauty. Dirty Shirley @imageneered , the Jester’s trilogy @roxannemaillet , Who wants to be my horse? @toan_vu_huu , Strakati @xilo.center and Miles @alicegavin.xyz . Thank you so much to these talented and beloved persons, to accept the challenge and our conditions. Thanks to @benqcs_sproovetechs for the realisation of 𝐊𝐢𝐧𝐨, the fab metal piece conceived for their works and @longtermhandstand for the assistance . Thank you thank you thank you ♥️. Parodie is curated by @celine___kopp , assisted by @alexia_pierre 🍀. Pictures: @verdikt11

I always dreamed to have original posters for my films and 5 fabulous graphic designers, who I admire since years, made this dream come true for 𝕻𝖆𝖗𝖔𝖉𝖎𝖊 @cnacmagasin . Couldn’t expect more beauty. Dirty Shirley @imageneered , the Jester’s trilogy @roxannemaillet , Who wants to be my horse? @toan_vu_huu , Strakati @xilo.center and Miles @alicegavin.xyz . Thank you so much to these talented and beloved persons, to accept the challenge and our conditions. Thanks to @benqcs_sproovetechs for the realisation of 𝐊𝐢𝐧𝐨, the fab metal piece conceived for their works and @longtermhandstand for the assistance . Thank you thank you thank you ♥️. Parodie is curated by @celine___kopp , assisted by @alexia_pierre 🍀. Pictures: @verdikt11

I always dreamed to have original posters for my films and 5 fabulous graphic designers, who I admire since years, made this dream come true for 𝕻𝖆𝖗𝖔𝖉𝖎𝖊 @cnacmagasin . Couldn’t expect more beauty. Dirty Shirley @imageneered , the Jester’s trilogy @roxannemaillet , Who wants to be my horse? @toan_vu_huu , Strakati @xilo.center and Miles @alicegavin.xyz . Thank you so much to these talented and beloved persons, to accept the challenge and our conditions. Thanks to @benqcs_sproovetechs for the realisation of 𝐊𝐢𝐧𝐨, the fab metal piece conceived for their works and @longtermhandstand for the assistance . Thank you thank you thank you ♥️. Parodie is curated by @celine___kopp , assisted by @alexia_pierre 🍀. Pictures: @verdikt11

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

Silent Spring — visual identity and catalogue for the thoroughly researched, style-defining exhibition curated by @eve_with_apple at @ngprague

The sculptural forms guided our approach; their organic curves inspired subtle modifications to the Garamono typeface by @isharhawkins (to be released by @wise_type ). We selected natural fabrics and materials, and designed standing labels reminiscent of garden markers, to complement the architectural vision of @tomasdzadon — allowing the design to blend seamlessly into the Zen garden–inspired space.

On view until the end of August.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

My love project — the design for the Keyhole, the smallest exhibition hall of PLATO Ostrava. A space for gardening, cultivating, playing, and art, curated by Edith Jeřábková.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Představujeme vizuální identitu Signal Festivalu 2024, kterou opět navrhli Jan Brož a Jan Novák. Tento rok vzdáváme hold ikonické siluetě Pražského hradu, kterou autoři přetvořili pomocí generativní AI do detailní mozaiky 🏰 Praha zůstává naší inspirací i partnerem. Poprvé také uvádíme Signal Forum, s novou identitou od stejných autorů 🎨
» Použité modely: Krea.AI, Stable Diffusion v1.6, Replicate (Phil’s Clarity Upscaler) a Runway.ml (Gen-2, Gen-3).
» Písmo San Sebastian (beta) od písmolíjny AllCaps.

#signalfestival #prague #graphicdesign #generativeAI #typography #visualidentity

We are pleased to share the visual identity of Signal Festival 2024, designed once again by Jan Brož and Jan Novák. Along with the development of Al at the moment, the creative possibilities of using generative models are dynamically expanding, and the Signal Festival team is not lagging behind.

This year's design pays tribute to the iconic silhouette of Prague Castle, the city's historical landmark. Prague has been our theme and partner throughout Signal's existence. Using generative AI, the creators transformed the silhouette into a detailed mosaic of motifs reflecting the concept and program of the upcoming festival.

This year, we also present the first edition of the international conference Signal Forum, for which the authors have also designed the identity.

The models used are Krea.AI, Stable Diffusion v1.6, Replicate (Phil's Clarity Upscaler), and Runway.ml (Gen-2, Gen-3). Font: San Sebastian (beta) by AllCaps typefoundry.

Whats up NY ⭐️ Very much looking forward to see you again 🫶🏻

Tomorrow @jakub_choma opens his largest exhibition "We Are Smelly, Atomised, Chemical, Vanilla" and I am honoured to be part of this project. We would love to see you from 17:30 at @galeriesmecky. ☄️ Invitations via DMs.

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Into the Structure – Launch animation for @allcapstype (2022).

@ja_novak and @ondrejbachor asked me to create an animation for a long-awaited type foundry. In response to their diligent approach to type design, I’ve proposed several ‘back to the roots’ ideas, which were eventually combined. 

The first is about the materiality of alphabets in the past (alloys) and today (screens). Followed by ‘kilograms into kilobytes’ – the idea of conversion between weight & data size of alphabets. Third idea is drawing with the graphite, where I was particularly interested in the rawness of the line vs primary letterform. One of the ‘Into the Structure’ vector grids was later used as a part of their visual identity.

Fonts in use: Kolektiv (Beta) by Ondrej and Modern Gothic by @malte_bentzen .

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart

Excited to share new work – Seasons – visuals of the four exhibitions cycle, catalog, and neon signage I’ve designed for the Centre for Contemporary Arts in Prague. The project was curated by Mariana Serranová and involved 24 Czech & Slovak artists. 

I’ve created a parametric setup using my favorite 3D tool – MoSpline, inside Cinema 4D. Making it easy to feed it with various fonts, art direct the overall character and then render with the toon shaders. The hardcover catalog, including many poems and citations, is set in the airy layout with Rhymes. Many thanks to everyone involved, especially @marianaserranova, Ondrej Stupal, and Anna Dornakova. 

Pictured sculptures by Anna Hulačová and Václav Litvan. Photo of the neon by Filip Beránek. Fonts in use: Rhymes, VAG Rounded, Eurocat, Modelo, Numberplate.

#graphicdesign #typography #3dtypography #cinema4d #bookdesign #contemporaryart