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Peter Sit

@sssitdownnn

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Artist as curator
Art director of @e_flux journal
Curator of The Czech and Slovak Pavilion @labiennale 2026
Mostly Vienna, sometimes NYC
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14 years ago, I visited the Venice Biennale for the first time. Thanks to my academy, which paid for the accommodation, I only needed to pay for the bus from Prague, which was very cheap. I ate one sandwich a day, no Aperol Spritz. We didn’t have much money growing up, yet I never really felt like I was missing something. I was so excited by what I saw there. But it never crossed my mind that this could be a world where I might actually belong. It felt distant, something I only read about in books, something happening on another planet. But here we are. Not only me, but many others from very different backgrounds. Art saved my life. Thanks to art, I flew on a plane for the first time. Thanks to art, I saw the sea for the first time. Thanks to art, I can travel and meet incredible people. And that is also what this Biennale meant to me. Despite everything happening in the world, I felt a certain hope emerging from human interactions, from generous and supportive conversations, from solidarity. It gave me the feeling that maybe there is still some chance for humanity. At the same time, I feel this might be one of the strongest editions of the Venice Biennale, not only politically, but also in terms of art. @sungtieu and her coverage of the facade of the pavilion’s fascist architecture is brilliant, and it should stay there forever. @alinebouvy and her piece La Merde is so good, I laughed so much. I still haven’t managed to see many of the works created by my colleagues and friends, but I’m looking forward to returning to Venice in September and spending more time with everything. I will come back with my mom, who has only been to Venice once before, in 1991, a few months before I was born. I feel immensely grateful. I’m grateful for this collaboration, Alex, Tomáš, Jakub @jakub.jansa @selmecikockajusko ❤️, and grateful that I could be part of it. It was one of the warmest collaborations I’ve ever experienced, and I’m very proud of what we did. And thank you to everyone who helped me on this journey. Because nobody can ever do anything truly alone taken in La Biennale di Venezia by @sssitdownnn
47
5 months ago
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The Silence of the Mole Jakub Jansa, Selmeci Kocka Jusko @jakub.jansa @selmecikockajusko Curated by Peter Sit @sssitdownnn Czech and Slovak Pavilion 61st International Art Exhibition La Biennale di Venezia @labiennale May 9 – November 22, 2026 Commissioner – Michal Novotný @michail_novotny Visual Identity – Jan Brož @imageneered Exhibition views – Jan Kolský @jankolsky 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 taken in La Biennale di Venezia by @sssitdownnn
42
5 months ago
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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. taken in La Biennale di Venezia by @sssitdownnn
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5 months ago
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Today’s feature is a conversation with Peter Sit @sssitdownnn , curator of “The Silence of the Mole” at the Czech and Slovak Pavilion in Venice, with works by Jakub Jansa @jakub.jansa and Selmeci Kocka Jusko @selmecikockajusko During their conversation, conducted by Chiara Causo @chiaracso , Causo asks Sit, “At the centre of the project seems to be a question about who has the power to represent whom. Mr M. represents The Mole; The Mole represents cultural memory; the pavilion represents two countries within an international exhibition. How did you reflect on this chain of representation? And did you see the pavilion itself as a space in which the politics of cultural representation could be questioned?” To which he replies, “Representation operates on several levels throughout the project. Mr. M. represents The Mole, but he is also burdened by that representation. Similarly, national pavilions inevitably raise questions about who is entitled to represent a country, whose stories become visible, and which identities remain excluded. This year marks the 100th anniversary of the pavilion, which still bears the name of a country that no longer exists. Today, it is jointly owned by two countries. In a way, we are exhibiting in the pavilion of a fictional country. For me, that’s a beautiful metaphor. National representation, and the whole idea of the Venice Biennale as a system of national pavilions is quite problematic. I think it’s important to keep questioning it, and I hope that one day we will be able to move beyond this rather archaic model, which, at least for contemporary art, no longer makes much sense. At the same time, for nation states, and for the Biennale as an institution, it remains very important because it is deeply connected to power, money, and, as our project suggests, representation itself.” Photo of Peter Sit: Neven Allgeier @nevenallgeier Installation photos: Jan Kolský @jankolsky Read the full interview on our site, mostmagazine.org #mostmagazine #cee #thesilenceofthemole #petersit #chiaracauso taken in Venice, Italy by @sssitdownnn
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3 days ago
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Steina at @haus_der_kunst 🖤 beautiful show Thank you for the tour @_lydia.antoniou taken in Haus der Kunst - München by @sssitdownnn
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14 days ago
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Glad that I saw this incredible collection - Ways of Seeing. Collection of Muzeum Sztuki in Łódź @muzeumsztuki @danielmuzyczuk @witamwelcome [1] books, thank you @danielmuzyczuk [2] IRWIN — Corpse of Art, 2003–2004 [3] Mykola Ridnyi — Gradual Loss of Vision, 2017 [4] Jasmina Cibic — 20th Century (from Afar), 2010 [5] Józef Robakowski — From My Window, 1978–1999/2000 [6] Marian Bogusz — Mister Brown Greets Fighting Palestine, 1948 [7] Michael Stevenson — Drum Shield Affordance Extension 1.1. Extravehicular Activity, 2020 [8] Agnieszka Polska — What the Sun Has Seen, 2017 [9] Simone Forti — Past Future, 2013 [10] Sanja Iveković — Personal Cuts, 1982 [11] Sergei Eisenstein — Untitled (Lucien), n.d. [12] Wilhelm Sasnal — Developing Tank, 2015 [13] Andrea Fraser — May I Help You?, 1991 [14] Suzanne Treister — HEXEN 2.0 / Tarot / Queen of Chalices – Ada Lovelace, 2009–2011 [15] Hassan Khan — The Uncensorable Taboo, 2025 [16] Stano Filko — The Future Exploration the Universe, 1968 [17] Viktor Timofeev — June 19th, 2024 [18] Iza Tarasewicz — Continuation is important and continuation is a matrix and a matrix is a set of possibilities, 2013–14 [19] Gabriele Stötzer — A Handful of Soil, 1982 [20] Mladen Stilinović — Work, 1980 taken in Łódź, Poland by @sssitdownnn
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18 days ago
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For the 61st @labiennale, the Czech Republic and Slovakia return to the Giardini with a joint presentation for the first time in twenty years. “The Silence of the Mole”, by @jakub.jansa and @selmecikockajusko, curated by @sssitdown, brings together film, sculpture and sound to explore what happens when imagination becomes entangled in the mechanisms of soft power. On view in Giardini until 22 November. —- Photos: Jakub Jansa & Selmeci Kocka Jusko, The Silence of the Mole, Venice Biennale 2026, Czech and Slovak Pavilion. Photo: Jan Kolsky, National Gallery Prague. #paidpartnership by @sssitdownnn
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20 days ago
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Dzieki @warsawgalleryweekend @curating666 @tyrsik artists, gallerists & friends ✨ taken in Warsaw, Poland by @sssitdownnn
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20 days ago
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On view at nico bernath wien “Social Metabolism” Šimon Chovan, Natália Sýkorová and Viktor Timofeev, curated by Peter Sit. Social Metabolism borrows its title from Karl Marx’s Stoffwechsel — literally, exchange of matter, or metabolism. Marx used the phrase gesellschaftlicher Stoffwechsel for the circulation of commodities and the organisation of social labour, and in Das Kapital (1867) described labour itself as the process by which people mediate, regulate and control their metabolism with nature. Metabolism here is a material exchange, not a figure of speech: societies draw matter from the natural world, transform it, and return it changed. Capitalism reorganises this exchange around production, circulation and accumulation, and the works in this exhibition follow what happens along that circuit — through bodies, infrastructure, and the technologies that keep it running. @simon_chovan @nataliasyck999 @viktortimofeev @sssitdownnn On view through October 24 Fri 5–7 PM and on appointments Florianigasse 5a, 1080 Wien nicobernath.com taken in Vienna, Austria by @sssitdownnn
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24 days ago
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@toliaasta Figure of the Child (curated by @fatimahellberg ) and Terminal Piece (co-curated w/ @lukasflygare ) at @mumok_vienna are the most interesting exhibitions I have seen in a long time. I came back from Basel the day after the opening. I had different plans for that day, but I was too curious and needed to stop by and peek in. I only had 30 minutes. But seeing one floor after another, I just couldn’t leave. I stayed for more than 4 hours. I’ve been back to see it a few more times since then. To me, both shows are very connected, so much that they almost feel like one exhibition, with Tolia’s presence across the lower floors. Tolia’s show can help to understand some of the decisions behind installing the collection. You need to approach both with childish openness and curiosity. In the text on the website, it says “we were once children,” but we never stopped being children of our parents. Therefore, I think it is important to find a connection with your inner child. I believe it can open up the way you see things, a curiosity about things adults wouldn’t notice anymore because their patterns of viewing the world don’t allow them to. And if you approach art with this openness, it can teach you something new about yourself and the world, and about the complicated and multilayered connections we inhabit, much like a good therapy. The shows make me think a lot about Winnicott’s Playing and Reality, especially his idea of the transitional space, that zone between inner fantasy and outer reality that is neither one nor the other, where a child first learns to play, and where, if we’re lucky, we keep playing for the rest of our lives. For Winnicott, therapy is not simply about dissecting a patient’s thoughts, but about creating a safe, unhurried space, much like a parent sitting quietly on the floor while a toddler plays with blocks, letting the child explore at their own pace without forcing them to clean up or explain their game. That’s exactly what walking through these floors felt like. … [continues in comments] taken in mumok - Museum moderner Kunst Wien by @sssitdownnn
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25 days ago
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Vychází speciální dvojčíslo časopisu Art Antiques s přílohou Prague Art Week 26! 📗 Uvnitř: Jakub Jansa a Selmeci Kocka Jusko na Benátském bienále, dosud největší výstava Anny Zemánkové v Gočárově galerii, profil Florentiny Holzinger a recenze Bezhlavého jezdce v GHMP, Manifesty 16 i výstavy Půda a přátelé v PLATO Ostrava. ➕ příloha s kompletním programem Prague Art Week 26. Vás časopis najdete ve schránce, v dobré trafice, galerii či knihkupectví. PAW od 24. do 27. září na 40 lokacích po celé Praze. Titulky @prague_art_week, @jakub.jansa @selmecikockajusko by @20yydesigners taken in Prague, Czech Republic by @sssitdownnn
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a month ago
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Peter Sit is the curator of “Social Metabolism”, a group exhibition with Šimon Chovan, Natália Sýkorová and Viktor Timofeev. Opening: September 9, 6–9 PM Florianigasse 5a, 1080 Wien Sit currently works as art director at e-flux journal. He curated the Czech and Slovak Pavilion at the 61st Venice Biennale, bringing together Jakub Jansa and Selmeci Kocka Jusko in a joint presentation. Through APART collective, he exhibited at institutions including Kunsthalle Bratislava, Karlín Studios in Prague, Easttopics in Budapest, the Biennial of Graphic Design in Brno, CCA Chronicle in Bytom, MoMA in New York, Glassbox in Paris, Alserkal Arts Foundation in Dubai, City Gallery Prague, Kunsthalle TRAFO in Szczecin, and the Matter of Art Biennale in Prague, among others. His editorial and curatorial practice spans books, exhibitions, and public programs, including Woody and Steina Vasulka: Resonant Memory (e-flux, 2025), Harun Farocki: Shaping of Our Present (A Promise of Kneropy, 2022), Life, Death, Love and Justice with Didem Yazıcı (Yapı Kredi Culture Centre, Istanbul, 2022), and the 9th Futurological Congress: Future of Language with Julieta Aranda (Slovak Radio Building, Bratislava, 2019). *photo by @nevenallgeier nicobernath.com taken in Vienna, Austria by @sssitdownnn
10
a month ago
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