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ChertLüdde, Hauptstraße 18, Berlin (2026)

19/06/2026

Now on view at ChertLüdde’s booth at :
Rodrigo Hernandez
with a selection of his most recent series of paintings

Animals recur throughout Hernández’s work in recent years. Reflecting his sustained interest in how humans conceive of and project onto the consciousness and unconsciousness of animals, sleeping animals become a way for the artist to reflect on the unconscious mind and the subjectivity of dreams.

The work on view all contain the haptic nature and emotional register. Here, the bear, an animal which spends much of its life in hibernation, also serves as a powerful symbol of this inward state—embodying prolonged withdrawal, latent awareness, and the mystery of experiences that unfold beyond waking consciousness.

ChertLüdde
📍 Booth N7, Hall 2.1, Art Basel
📅 until 21 June 2026

Images: Rodrigo Hernández, “Sleeping bear”, 2026; Oil on wood; 30 × 25 × 3, Photo by Giorgia Palmisano MBP; Rodrigo Hernández, “Little bear”, 2026; Oil on wood; 30 × 25 × 3 cm, Photo by Giorgia Palmisano MBP; Rodrigo Hernández, “My little heart”, 2026; Oil on wood; 35 × 25 × 3 cm, Photo by Giorgia Palmisano MBP

18/06/2026

Now on view at the ChertLüdde Booth at : Monia Ben Hamouda & Sofía Salazar Rosales

Monia Ben Hamouda .benhamouda.studio

The paintings from this series come from a personal urgency to engage with the functional necessities of art within ritual practices and the environment. Using spices and powders such as hibiscus, green lalo, ashes, charcoal, paprika, red clay and soil on linen or canvas, Ben Hamouda creates textural references to rock and cave surfaces related to art since the dawn of humankind.

Currently, her work is on view at Biblioteca Nazionale Marciana, Venice Presented by as a Collateral Event of the Biennale Arte 2026 .

Sofia Salazar Rosales

This sculpture is an enlarged replica of an earring made by the artist’s Ecuadorian mother while living in China. The original piece combines reinterpreted pre-Columbian forms—derived from spiral stamps—with black and red beads inspired by the necklaces the artist’s father wore, referencing the orisha Elegguá. It brings together layered personal and cultural histories, with a title drawn from a song the artist’s father once dedicated to her mother.

ChertLüdde
📍 Booth N7, Hall 2.1, Art Basel
📅 until 21 June 2026

Images: (1) Monia Ben Hamouda, Blindness, Blossom and Desertification XXVIII, 2026, Photo by Marjorie Brunet Plaza; (2-3) Monia Ben Hamouda, Installation view of “Fragments of Fire Worship”, Biblioteca Nazionale Marciana, Venice, 2026, Photo by T-space, Courtesy by Fondazione Bvlgari, Rome; (4) Sofía Salazar Rosales, “No sé si fue la impaciencia de tanto esperar tu llegada (I don’t know if it was the impatience of waiting so long for you to arrive)”, 2025, Photo by Giorgia Palmisano MBP; (5-6) Sofía Salazar Rosales, Installation view of “Mémoires Voyageuses”, Kunsthaus Baselland 2026. ©️ Kunsthaus Baselland

16/06/2026

As part of Basel Exclusive, we are pleased to present Clemen Parrocchetti’s historic paintings, unveiled today during the opening of the fair.

Rediscovered in recent years, Clemen Parrocchetti’s (1923–2016) paintings from 1969 captured the struggle for liberation and self-definition through various disassembled and distorted figures. These paintings include facial features like mouths and eyes—motifs she continued to use well into the 1970s as a synecdoche for the female body. Lips in particular appear often, becoming a symbol for the unleashing of women’s protest in the face of oppression. Within each painting, different symbols are employed to reference autobiographical elements that amass into a painting expressing larger frustrations felt about the subjugation of women. After 1969, Clemen Parrocchetti began distancing herself from the medium of painting—making these works part of an important transitional phase in the artist’s practice.

Discover the work at booth N7, Hall 2.1.

Art Basel in Basel
Public days: June 18–21
📍 Messeplatz, Basel

Image: Clemen Parrocchetti, “Untitled (Divorazioni)”, 1968; Household paint and acrylic on canvas in artist’s frame; 80 × 100 × 2.5 cm; Clemen Parrocchetti, Tagliatrice di Teste / Heads’ Cutter, 1969, (Divorazioni / Devourings), Household paint and acrylic on canvas in artist’s frame, 82 × 101 × 2.5 cm
Photos by Marjorie Brunet Plaza

07/06/2026

ChertLüdde returns to in 2026 with a presentation of works spanning from the 1960s to the present day, reflecting the artists’ creative exploration as exhibited in various international shows over the past few months.

We are delighted to bring together the works of:

Petrit Halilaj
Sofía Salazar Rosales
Selma Selman .selma
Clemen Parrocchetti
Monia Ben Hamouda .benhamouda.studio
Álvaro Urbano
Sol Calero
Patrizio di Massimo
Heike Kabisch
Stephanie Comilang
Rodrigo Hernández
Ruth Wolf-Rehfeldt
& Ali Eyal

We look forward to seeing you at
📍 Booth N7, Hall 2.1, Art Basel
📅 16 – 21 June 2026

02/06/2026

ChertLüdde is taking part in Basel Exclusive, a new initiative by , which presents a selection of artworks unveiled at the fair’s opening this June.

Among the selection are the historic works of Clemen Parrocchetti, which have rarely been exhibited to the public, but are enjoying renewed interest from museums in recent years.

The Italian artist Clemen Parrocchetti (1923-2016) was an active participant in the feminist liberation movement in Italy in the 1960s and 1970s, a period that is still considered one of the most heated moments in the country’s history in the fight for women’s rights. This translated into a strong visual grammar of domestic objects and the female body, repurposed into the subversive tools of denunciation and protest.

Join us at our booth N7 Hall 2.1:

Art Basel in Basel
VIP days: June 16–17
Public days: June 18–21
📍 Messeplatz, Basel

Image: Clemen Parrocchetti next to “Telaio Infranto / Shattered Loom”, 1978. Courtesy Clemen Parrocchetti Archive

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

ChertLüdde

19/06/2026

18/06/2026

16/06/2026

07/06/2026

02/06/2026

29/05/2026

15/05/2026

15/05/2026

01/05/2026

01/05/2026

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Dienstag	12:00 - 18:00
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