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Dienstag 12:00 - 18:00 Mittwoch 12:00 - 18:00 Donnerstag 12:00 - 18:00 Freitag 12:00 - 18:00 Samstag 12:00 - 18:00

ChertLüdde, Hauptstraße 18, Berlin (2026)

29/05/2026

Opening this Saturday, 30 May 2026 in Ortisei
With Álvaro Urbano

“(Future) Paradise Gardens“
10th edition of Biennale Gherdëina
Val Gardena, Dolomites
Curated by
31 May – 13 September 2026

The biennial explores the dialogue between contemporary artistic practices and the local context, its people, communities, and environment. In (Future) Paradise Gardens, the curator Samuel Leuenberger presents various chapters exploring the idea of the garden, which act as a metaphor for themes of Commoning, Divine Love and Growth, Violent Garden, Q***r Ecology, Botanical and Gardens as Spaces for Reflection and Poetry. These are spread across three main exhibition sites throughout the Val Gardena.

Image: Álvaro Urbano, “Zwischenzeit”, 2025; Disused street lamp, lighting effect designed to resemble a dialogue between two light bulbs. 92 leaves; Sculpture: 156 × 44 × 174 cm, Photo by Majorie Brunet Plaza

15/05/2026

Visit us today at the Gallery for Petrit Halilaj’s exhibition “Who does the earth belong to while painting the wind?!”
Within the exhibition, presents a new sculptural series called “Si bishri I Arnautëve / Like the tail of Arnauts“, 2026

This sculptural series exaggerates animal tails, particularly those of horses, using brass and synthetic hair. Much like the artist’s series of brass bird legs crowned with distinct feathers, each sculpture features a uniquely styled tail, giving it an individual character.

The series draws on discretionary caricatures historically used to justify violence and discrimination against the Albanian-Kosovar population. In 1913, Serbian Prime Minister Vladan Đorđević published a text that dehumanized Albanians, claiming they retained animal-like traits, including tails, well into the 19th century. Such eugenic rhetoric formed part of a broader discourse that contributed to systemic violence, suppression, and the attempted erasure of Albanian identity. However, as a Kosovar himself, Halilaj ridicules such statements, refusing to let these dehumanizing claims go unaddressed while simultaneously reappropriating the imagery of Albanian Kosovars.

Within the exhibition, the sculpture give context to the central conflict addressed in the exhibition though the burnt and vandalized storage container.

Images: Petrit Halilaj, Installation view of “Who does the earth belong to while painting the wind?!”, ChertLüdde, Berlin, 2026, Photo by Marjorie Brunet Plaza

15/05/2026

Opening today: Fri, 15 May 2026, from 7 pm
in
“Paravent ist ein Objekt des Dazwischen“
Curated by Jennifer Cierlitza

The folding screen divides – and connects. It creates intimacy without enclosing, structures space without fixing it. Foldable, mobile, and permeable, it becomes an instrument of a spatial in-between. As an object, the screen has long stood for thresholds, transitions, and possibilities – in architecture as well as in art history. As a mobile, permeable element, it subverts the idea of a fixed, closed space and instead brings processes of sharing, shifting, and reordering into focus. It operates through transparency and suggestion: it conceals and reveals at the same time, arousing curiosity about what lies behind it and opening associations between intimacy and staging.

The exhibition will also present work by Georgina Hill & David Douard.

Images: (1) Kasia Fudakowski, 1st Neighbour, Once Removed (Panel 4), 2017, Steel structure made with painted industry off-cuts, Produced by Ali Serhat Öztemir, İlker Çetin, and Ramazan Temel with production assistance from Gamze Öztürk and Hande Alpaslan, 220 × 120 × 1.5 cm, Photo by Trevor Good; (2-3) Climate Changing Room V (Panel 34), 2020, Painted steel fabricated by Eyyup Teymur and Serhut Öztemir in Istanbul, with production assistance from Hande Alpaslan, 200 × 110 × 2 cm, Photos by Billie Clarken; (4) The Undecidables (Head 11), 2024, Pigmented, handblown glass, steel, bolts, electrical cable, glass blown by David Hotař, assisted by Emil Kováč and Stanislav Beránek, 33 × 21 × 16 cm; (5-6) Kasia Fudakowski, “Portrait of the artist as a filter feeder I (Panel 44, 45 and 46)”, 2022; (Continuouslessness, 2017 – ongoing); Copper, steel, matt paint and production assistance from Lema Ahmadi, Photo by Billie Clarken

01/05/2026

Today we’re opening two new exhibitions at the gallery, and as we wait for the moment to celebrate with everyone around us, we’d like to take a moment to offer an heartfelt and sincere THANK YOU to those who make things happen.

Exhibitions don’t just appear by magic; works of art don’t find their way onto the walls on their own, and ideas don’t spring from thin air either.

Thank you for all the care and dedication, for the human intelligence that, with nurturing and respect, day after day, makes this magic possible.
Happy Labor Day to everyone!

Photo by
ChertLüdde team and Petrit Halilaj’s studio team during the setup of “Who does the earth belong to while painting the wind?!” opening today

01/05/2026

As part of the our new exhibition with Robert Rehfeldt opens on May 1, International Workers’ Day.

Celebrating more than ten years since our first exhibition with Robert Rehfeldt (“HOME ARCHIVES: Paulo Bruscky & Robert Rehfeldt’s Mail Art Exchanges from East Berlin to South America”, curated by Zanna Gilbert - - January-March 2015), today, on this special occasion, we remember the artist’s significant legacy in community work, in creating and maintaining networks among international artists, and in promoting collaborative ideas that empathize collective agency versus individual authority.

(...) “One serial self-portrait showing the artist in his studio and stamped with the slogan “ARTWORKERS UNITE” was sent by Rehfeldt to Bruscky on November 3, 1977. The images underneath the words were repeatedly copied from the same matrix until the artist’s figure became distorted and difficult to decipher. By contrast, the stamped phrase calling for the solidarity of “artworkers” stands out clearly. In a final ironic gesture, Rehfeldt stamped “Original” on the image most faded by the copying process, a reference to the rejection of unique works in mail art.” (extract from Zanna Gilbert “The Human Letter: Mail Art Exchanges between East Berlin and Northeast Brazil in the 1970s” - Fillip n.20, fall 2015

Images: selected Mail Art letters sent by Robert Rehfeldt to Paulo Bruscky

25/04/2026

Today, Saturday, April 25, 2026

Join a barbecue cooking session on the terrace of starting at 2:00 p.m. with

The Brenda oven-sculpture will be in operation, serving pizza and other snacks to visitors at DAS MINSK.

at 2:00 pm talk with Guest: Raphael Fonseca , art historian - together with the curatorial team Daniel Milnes and Anna Schneider

As part of the Collective Osmosis exhibition at DAS MINSK, Oscar Murillo @ invites you to participate in his collective painting process.
Starting April 25, all visitors will be able to participate in the creation of a new collaborative outdoor work and become part of the work’s constantly evolving context.
Collective painting is a central component of Oscar Murillo’s artistic practice and is conceived as an open, collective working process.

The barbecue marks the start of this participatory phase.
Brenda is a sculptural oven named after Chaile’s sister, featuring stylized facial elements reminiscent of pre-Columbian artefacts from his native region of Tucumán. Like many of his pieces, Brenda bridges form and function—at times serving as a silent guardian of cooking rituals, and at others as a working oven that invites people to gather, bake bread, and share in the rhythms of communal life.

Image: Gabriel Chaile, “Brenda”, 2022; Installation view of “ERDE/N”, Curated by Carole Kambli and Sabine Rusterholz Petko, Hof Blum, Samstagern, 2025

24/04/2026

As part of the schedule, our exhibitions open on May 1, International Workers’ Day.

For the vernissage for Petrit Halilaj’s exhibition “Who does the earth belong to while painting the wind?!” , has organised live music, food & storytelling from Kosovë.

As we celebrate the opening of Halilaj’s new exhibition, join us as we look back at the Kosovar emancipation that has manifested itself artistically, collectively, culturally, and politically since the country’s independence. The event will feature traditional songs from rural weddings, gojëdhana (gifts of words, or Albanian storytelling), and culinary delights such as flija, qaj, and rakija, highlighting folkloric elements deeply rooted in the artists’ homeland, Kosovo, and the broader Balkan region. The evening blends contemporary art and popular culture in a day dedicated to remembering the shared struggle for better working and living conditions.

Contributors include:
Marrja Zezë
Jehona Jahaj
ARBËRESHË .am.arbereshe
Dardan Hoti
Urim Hiseni
& food by

Opening reception: 1 May 2026 / 6-9 pm
Defa (Tambourine) tour, collective singing and dancing: 1 May 2026 / 7 pm
This event is open to everyone.

Marrja Zezë is a diasporic platform dedicated to performing arts, interactive storytelling and socio artistic events.

17/04/2026

Visit the ChertLüdde booth now at

This selection of works by Rodrigo Hernández (), Sofia Salazar Rosales (), Kasia Fudakowski, and David Horvitz () reference directly nature—how it intertwines with memory, history, the changing climate, and place. Explore these and other works at out booth:

📍 C06, miart
📅 until 19 April 2026

Images: David Horvitz, “Platanus racemosa”, 2025; Brass alloy casts from approximately fifty house keys traded with the artist for keys to the 7th Ave. garden; Dimensions variable; Sofía Salazar Rosales, De nieve y esmeralda, 2025, Copper, aluminium, iron, plastic bottle, plaster, 151 × 64.5 × 21 cm; Kasia Fudakowski, “Climate Changing Room III (Panel 32)”, 2020, Painted steel fabricated by Eyyup Teymur and Serhut Öztemir in Istanbul, with production assistance from Hande Alpaslan, 200 × 110 × 2 cm, Photo by Billie Clarken; Rodrigo Hernández, “Time is the fire in which we burn”, 2026; Oil on wood; 34.5 × 29.5 × 3 cm, Photo by Giorgia

14/04/2026

We look forward to welcoming you soon to our presentation

📍 Booth C06, miart
📅 17 – 19 April 2026

Joining us in the group presentation will also be the work of radical feminist artist Clemen Parrocchetti (1923–2016, Milan, Italy).

During the fair, her posthumous catalog, published by .cimorelli.editore, will also be presented:

18 April 2026, 3 pm
Caffè Letterario, miart
With a discussion between , and Martino Guidobono Cavalchini

This monograph presents the work of Clemen Parrocchetti (1923–2016), a non-conformist artist of the 20th century who explored the complexities of the female experience, emotional relationships and sexuality. Over a hundred works, including paintings, drawings, sculptures, tapestries and archival materials, shed light on an artist who remains little known, closely associated with Italian feminism and the creator of an original, provocative and authentic artistic language. From her early exuberant canvases to objects of female culture, from installations and tapestries to the eco-feminist works of the 1990s, Parrocchetti’s work demonstrates a constant aesthetic and political exploration.

Images: Clemen Parrocchetti, “La luna interrotta dal fulmine / The moon interrupted by lightning”, 1985; Sequin and thread embroidery on black canvas sewn on gauze; 68 × 64 × 1.2 cm; Clemen Parrocchetti, “Triangolo Rovesciato / Reverse Triangle,” 1980 - 81; Sequins on padded canvas painted and covered with colored tulle; 55.5 × 75 × 5 cm; Clemen Parrocchetti, “Cintura di castità / Chastity belt”, 1976; Mixed media; 50 × 70 cm / framed: 54.6 × 74.4 cm, Photo by Andrea Rossetti; Clemen Parrocchetti, “Tinea pellionella - Tarma della lana / Tinea pellionella - Wool moth”, 2000; Indian ink on paper; 24.6 × 34.8 cm; 43 × 53 × 2.8 cm (framed), Photos by Marjorie Brunet Plaza unless otherwise stated

12/04/2026

We look forward to welcoming you soon to our presentation

📍 Booth C06, miart
📅 17 – 19 April 2026

At the center of the booth stands a neon work by Monia Ben Hamouda reading, “History is happening / right now / outside these walls / yet we stand here / trying so hard / to understand it / through a / million-year-distance.” The piece anchors the presentation in a tension between immediacy and distance, reminding us that history is not only inherited, but unfolding in real time.

Monia Ben Hamouda (.benhamouda.studio) is also exhibiting internationally at:

‘After Fire’ on view at , Quinhuangdao
until 6 September 2026
&
‘Nor’
Curated by Emanuele Guidi ivo, Bressanone
until 31 July 2026

Monia Ben Hamouda’s upcoming projects include:
‘Fragments of Fire Worship’
Presented by Fondazione Bvlgari as an event of the Biennale Arte 2026
Biblioteca Nazionale Marciana, Venice IT
9 May – 22 November 2026

Image: Portrait of Monia Ben Hamouda, Milan; Monia Ben Hamouda, Monument to Vulnerability IV (Stoning of the Devil), 2024; Ben Hamouda, Vernacular (Blindness, Blossom and Desertification), 2026

ChertLüdde

29/05/2026

15/05/2026

15/05/2026

01/05/2026

01/05/2026

25/04/2026

24/04/2026

17/04/2026

14/04/2026

12/04/2026

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Dienstag	12:00 - 18:00
Mittwoch	12:00 - 18:00
Donnerstag	12:00 - 18:00
Freitag	12:00 - 18:00
Samstag	12:00 - 18:00