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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

Gallery opening hours: Tuesday - Saturday 12.00 - 18.00 and by appointment

10/06/2024

Now open at Parcours:
’Search for Life’ by Stephanie Comilang
On view until the 16th of June, 2024 Verein Bajour, Clarastrasse 10.

In this new installation, Comilang tells the story of the long-distance migratory routes of the Painted Lady and the Monarch butterflies as well as the history of Spanish colonial trade shipping routes.

This project is jointly presented by and . “Search for Life” is a work in the form of a diptych commissioned by TBA21, Sharjah Art Foundation and The Vega Foundation.

On June 14th at 3:00 pm, Stephanie Comilang will also be participating in ‘Activating environments: New ways of thinking of land, sea, and life’, a discussion with artists Seba Calfuqueo and Dr. Senam Okudzeto considering better futures for our land, our water, and all its creatures. Please RSVP via the Art Basel website

Images: Stephanie Comilang, Installation view of ‘Search for Life’, Art Basel Parcours, Verein Bajour, Basel, 2024, Photos by Andrea Rossetti, All Courtesy of the artist; ChertLüdde, Berlin and Daniel Faria Gallery

27/04/2024

come observe and participate in International Tapir Day at
until 7.00 pm
27 April - World Tapir Day

In South America, tapirs are associated with the creation of the earth.
An ancient genus of mammals closely related to rhinos and horses, the tapir is the most primitive large mammal in the world, having existed for over 20 million years.
Nowadays they are on the verge of extinction due to the rapid manmade disappearance of tropical forests.
Los jóvenes olvidaron sus canciones o Tierra de Fuego, 2024
Una pelicula de Gabriel Chaile

In the beginning, two baby tapirs came down from the sky. Their habitat was an infinite forest that knew no horizon. All things interacted on the same plane. As they grew, these tapirs noticed their shape and s*x changing. Just as the temperatures of their environment and the endless forest offered infinite possibilities, their bodies, too, were unfixed, oscillating between animal and human.
One day, while walking in the foliage they discovered, or invented, fire. They did not quite understand how this magical element, which allowed them to manipulate and control the transformation of their bodies, appeared. This is how their long, reflective, philosophical conversations about their condition and preferences began.
They would spend hours, whole days, in the heat discussing values, tastes and power. They tried to understand the best way to inhabit the earth, as humans or animals.
As humans, they etched and painted white dots and lines on their naked bodies to remind them of their early years as baby tapirs. It was a gesture to sustain their memories.
And so time went by, bringing the transformation of the forest that was Tucumán. One day the tapirs began to notice that the once-boundless forest had new borders. For the first time, the tapirs perceived a horizon. Little by little the forest shrank... and its conditions changed.
It was the fire, that element that they themselves had discovered or invented, which devastated the forest and finally exposed them to a desolate horizon.

22/02/2024

Last days to see 's exhibition “with what eyes?” curated by Diego Villalobos

The exhibition is the artist’s first institutional solo show in the United States and builds on some of the themes and topics of Hernández’s current exhibition at the gallery, 'stars around this beautiful moon / hide back their luminous form'.

Images: Rodrigo Hernández, with what eyes?, 2023; installation view, CCA Wattis Institute, San Francisco; Photo by Nicholas Bruno

31/01/2024

We are delighted to announce that Sol Calero is invited to the 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa!

Congratulations

Image: Portrait of Sol Calero by Louise Benson

04/12/2023

JOIN US FOR “INFLATED”
A CONVERSATION HOSTED BY GOSSIP GOSSIP GOSSIP
Saturday, December 9, 2023, 4:00 pm
with Zuzanna Czebatul (), GOSSIP GOSSIP GOSSIP ( & .Teitge) and .Chert
at

Taking Franco Mazzucchelli's inflatables – currently on view at ChertLüdde – as a starting point, Gossip Gossip Gossip invites artist Zuzanna Czebatul and gallerist Jennifer Chert to a casual exchange with the public. Topic such as materiality, the (subversive) use of advertising language/formats in the art context and artistic work with and for public space – as well as the informal communication that these works initiate – will be discussed and reflected on.

The origins of inflatables can be traced back to the (partially) art-decorated hot air balloons of the 18th century. Despite having been used as an artistic material since the 1960s, inflatable objects are still predominantly associated with advertising, children's entertainment, and holiday decoration. Both Czebatul’s and Mazzucchelli's inflatables form the starting point for a joint reflection on the democratization of art reception, temporary communities, as well as classism, and, lastly but importantly about q***r practices using distortion, exaggeration, and irony.

This event will be held in English.

Image: Zuzanna Czebatul, Macromolecule Exploiting some Biological Target, 2022

07/01/2023

It's Official:
Petrit Halilaj donates his sky of stars to the people of Pristina!
Petri Halilaj's call for a new sky continues, now becoming a lasting appeal to society.
His work, "When the sun goes away we paint the sky" is no longer a story layered temporarily during the year 2022 from the nomadic biennial Manifesta in Pristina: Halilaj's work is announced to remain for another year where it is, above the Grand hotel.
Congratulations to and the city of Pristina!
Photos: Patrik Domi

04/01/2023

As of today, we are back at where you will still find .mann solo exhibition entitled "Nectar Hive" open.
Visit us until Jan. 21 and follow .books for the upcoming schedule of events dedicated to this exhibition!
Pictured here is the detail of the map detailed by the artist in the back of the work "My artificial aching heart," 2021. On it, emotions and experiences are named in correspondence with where they feature on the front. The image also functions as an invitation / postcard related to the exhibition, thanks to which visitors can access the map otherwise not visible in the reverse side of the work.
In My artificial aching heart, the interwoven emotional spaces blend through shading and linework to produce a feeling of vertigo – a freefall through the artist’s mind. Emotions and memories of the artist’s daily life seem to collide with feverish momentum inside her painted topographies. One such recollection is marked by the presence of corona test swabs, referencing both the individual and collective experience, a metaphor for the viral spreading of information and feelings. A state of emergency is felt in the turbulent vortexes, flying objects and flames depicted without a clear beginning or end, as if the painting were a match burning at both ends.
images: My artificial aching heart, 2021
watercolor on paper. photo

04/01/2023

As of today, we are back at where you will still find .onuzulike solo exhibition entitled "Strings the Length of Our Palm’s Seal” on view. Come by to see two large scale examples of his impressive natural palm kernel shells works.
The exhibition is open until Jan. 21 and follow .books for the upcoming schedule of events.
Palm kernels are seeds encased in dry shells that are collected under palm trees and in bushes, usually left (after the main harvest) for the less privileged to eat. Because of this, palm kernels have become a symbol of poverty: when one is found gathering them for food, one is immediately identified as a hungry or needy person. Onuzulike transforms indigence into objects of wealth through the ornamental use of the kernel shells as beads, giving these works the appearance of royal clothing and armor (worn today by wealthy Nigerian politicians and historically by the royal entourage). Along with references to the regal milieu, forms of opulence, elevated status, and the corruption of power, the artist imagines a role reversal in which the symbols of low status become masters of the play, acquiring the place and dignity denied to them in reality. Furthermore reaffirming this potential for social change is the very practice of producing these works, which requires the collective effort of several workers in the artist's studio, which can almost be seen as a small-scale vision of social revolution: people united together in the shared dream of redeeming and overthrowing the current order.
Images: details of "Extra-Large-Sized Jumper", 2022, natural palm kernel shells, high-fired earthenware and stoneware clays, ash glazes, recycled glass and copper wire and “Agbada" (“1,500 Brand”), 2022, natural palm kernel shells, high-fired earthenware and stoneware clays, iron oxide, ash glazes, recycled glass and copper wire. Photos:

14/12/2022

For all in Berlin, don't miss 's new piece on display until Dec. 30, 2022, in the exhibition "Ceremony (Burial of an Undead World)" - a sculpture entitled "Così si ama," which praises and recalls the Neapolitan tradition of depicting the nativity scene.
In 1990, Lella descended into the crypt of the Church of the Heretics in Naples. She was seventeen, and her friends told her to “go kiss the dead.” She adopted a capuzzella (skull) and cared for it: cleaning, decorating, and placing it in a special scaravattolo (niche, or vitrine). Her actions belonged to a long tradition of osteological veneration specific to the city of Naples: the worship of the anime del purgatorio (purgatorial souls). Alongside her four sisters, Lella runs a pizzeria and takes care of her customers with delicious fried pizzas, but in the crypt that she guards, she takes care of many “poor souls” who, kept in a third space, need to feel “at home” and reintegrated into a story, or at least into one of the many possible stories.
Così si ama is a Neapolitan nativity scene that Pauline Curnier Jardin, together with Fabio Paolella, uses as a cosmogonic tool to juxtapose Lella’s belief system with the official and dominant ecclesiastical culture. The crypt is a liminal, pure, and free space “below,” beyond the contaminations of the spaces “above” where the Church preaches its doctrine. Aboveground the holy “fertility” chair of Santa Maria Francesca, patron saint of the family, and the Orphanage wheel of the Santissima Annunziata Maggiore, manipulated women’s reproductive condition in Italian society, transforming it into a death cult that makes bodies disappear and re-appear in another life. Così si ama explores the cults of a community enclosed between imaginary sacred spaces and real profane ones to expose the direct relationship Neapolitans have with dying and to death itself, and how this experience has allowed them to transcend the time of life and pe*****te the “afterlife.”
Images: Pauline Curnier Jardin, "Così si ama", 2022; Sculpture in wood, cork, glass, wax, ceramic, terracotta, tow, 190 × 80 × 200 cm. Photos by: Marjorie Brunet Plaza

01/12/2022

Congratulations to for her beautiful exhibition "Lente Passions"
on view until March 23, 2023
At turns fiery and baroque, kitschy and sensual, erotic and bloody, Pauline Curnier Jardin's work is an analysis in action of the social structures of southern European communities. Her series of films on religious ceremonies places the symbolism of Christian rites and other pagan processions or carnivals at the center of her vibrant observation, to better examine them physically.
Images: Pauline Curnier Jardin. Installation view of "Lente Passioni", Frac Corse, Corsica, 2022. Photos by Léa Eouzan-Pieri; Courtesy of the Artist,

29/11/2022

For her new exhibition "Nectar Hive" has developed a series of ceramic and wood sculptures, suspended from the gallery ceiling to create a resounding array of rich and symbolic presences.
The sculptures are inspired by various elements found in the human body, plant life, nature and architecture. Suspended in air, their strung parts represent the physical and cerebral manifestations of emotions, together forming the complex synthesis of traits that constitute personalities. Viewed individually, each work presents the intricacies of humanity and personhood. The anthropomorphic heads and bodies, reminiscent of mitochondria and other cellular components, can be read as the various factors that influence emotions and habitual behaviors. Often bearing titles that represent archetypes, such as Penny Pincher, Baroness, and Paper Pusher, or the names of a personal acquaintance or an imagined self such as Ulrich and Clara, these sculptures embody recognizable tendencies, characters and auras that can be found all around us.
Photos by Marjorie Brunet Plaza

24/11/2022

Congratulations to on her new exhibition/curatorial project, now open
TEA Tenerife Espacio de las Artes hosts until January 8, 2023 "Cabilla", a project by Sol Calero with the participation of Ana Alenso, ArchivOlares, Rubén D'Hers, tropical papers, Ernesto Paredano, Lucía Pizzani, Armando Rosales and Christian Vinck.

"Cabilla" is the Spanish word for the cast-iron rods used in construction to reinforce concrete. The standardisation of this industrial element has made it ubiquitous. However, in Venezuela, cabilla is also used to refer to something that is good, strong, consistent, excellent, optimal. The word is thus materialized as a demonstration of how ideological imaginaries become the infrastructures in which we live.

The oil boom and intensive agricultural processes put Venezuela at the forefront of modernism in Latin America. Mass migration from the Canary Islands produced an economic transfer but also led to an exchange of images that inform different utopias and dystopias in both places.

This curatorial and installation project by Sol Calero was conceived in conjunction with the support and collaboration of a number of artists whose careers and lives are connected to Venezuela. The project traces the history of forced migrations and the feeling of rootlessness that reveals the flipside of modernity and the possibility of a shared identity.

15/11/2022

Congratulations 💫 💫
Franco Mazzucchelli wins the Alfredo d'Andrade 2022 Lifetime Achievement Award.
Today, November 15, at the Circolo del Lettori in Turin, the Alfredo d'Andrade 2022 Lifetime Achievement Award was awarded to Franco Mazzucchelli "for the strong civic, social and inclusive value of his artistic gesture."
The award established in 2015 celebrates the memory of the renowned 19th-century architect, archaeologist and painter Alfredo d'Andrade.
As the President of the Association explains, "Continuing in the work of enhancing the important cultural legacy of Alfredo d'Andrade, the Art Commission accepted the nomination proposed by curator Sabino Maria Frassà and awarded the "Alfredo d'Andrade Prize in defense of Cultural Heritages Values" 2022 to Franco Mazzucchelli for the strong civic, social and inclusive value of his artistic gesture.
Image: Franco Mazzucchelli, Abbandono (Elica), 1969, Les Saintes Marie de la Mer, Camargue, Public intervention, inflatable sculpture, PVC, air, Sixteen-meter long inflatable sculpture; reappears in Varese and Venice in 1969 and on the Como Lake in 1970

02/11/2022

We are trilled to announce our upcoming exhibition with
Save the Date: Opening Saturday, November 12
The artist Zora Mann (Amersham, 1979) presents her latest exhibition Nectar Hive in ChertLüdde’s Gallery One. Represented by the gallery since 2015, Mann joined the program after retraining as an artist at the Villa Arson in Nice. It was there where she cultivated a distinct painterly perspective of labyrinth-like patterns made by combining abstract and figurative references found in mythology, psychology, nature, and more.
In the exhibition Nectar Hive, loose figurations meet on top of urbanesque and honeycomb structures to form a complex network of origin and memories. Seen through a fly-on-the-wall perspective on the artist’s own life, Mann’s forthcoming exhibition expands on her world-building capabilities. The works exhibited, which the artist began producing on her return to Villa Arson through its 2022 residency program, break through into both the two- and three-dimensional realms.
Deeply personal, yet distorted through the gaze of compounding, kaleidoscopic prisms, Mann’s rich imagery pollinates the mind with subconscious impressions. Resting on a cellular membrane with the soft sheen of oil and acrylic paints but the transparency of watercolor, her canvases become both the setting and an emotional roadmap for the viewers to navigate. Among the paintings, a swarm of biomorphic sculptures with ceramics and wood elements hangs from the ceiling to tangibly represent the physical and cerebral manifestations of emotions. Fixating on the interconnectedness of nature and its intuitive knowledge, Mann’s exhibition uses color, pattern and visual likeness to point towards both human and nonhuman collectivity.
Image: Portrait of Zora Mann in her studio, Berlin, 2022
Photo by

01/11/2022

With great excitement, ChertLüdde congratulates Ruth Wolf-Rehfeldt (b. 1932, Wurzen, Germany) on being awarded the Hannah Höch Prize, 2022, for her extensive oeuvre, which includes paintings, drawings, and, in particular, typewriter graphics (1972–89).

In conjunction with the award, the artist will also present a solo exhibition, “Wie eine Spinne im Netz (Like a Spider in a Web)” curated by Jenny Graser at the Kupferstichkabinett – Staatliche Museen zu Berlin. “Wie eine Spinne im Netz” will be open from 2 November 2022 - 5 February 2023.
The prize is awarded together to , whose exhibition is also presented for the occasion.

“Wie eine Spinne im Netz” is accompanied by a catalog edited by Jenny Graser, with a preface by , a foreword by Dagmar Korbacher, and texts by Jenny Graser, Fabienne Meyer and .reinhardt

Images: Ruth Wolf-Rehfeldt, “Untitled”, early 1970s, Typewriting on paper, drawing, 20.5 × 29 cm; Ruth Wolf-Rehfeldt, Waves, late 1970s, Original typewriting, 10.5 × 15 cm; Ruth Wolf-Rehfeldt & Claudine Barbot, Mail Art Collaborations, 1987, Zincography, collage, stamp.
Mail Art courtesy of

28/10/2022

We are back in Prishtina, where Petrit Halilaj's impressive installation "When the sun goes away, we paint the sky" ["Kur dielli të ikë, do ta pikturojme qiellin"] continues to light up the sky 💫
We look forward to see you for the last days of Manifesta Biennial, curated by Catherine Nichols.
The title phrase, "When the sun goes away, we paint the sky," was written by Njomza Vitia years ago when she was a 12-year-old girl. Amplified here, it unites the shared desires of all people to build with their imagination and fantasy a custom-painted future in which light and hope never fade away.

"When the sun goes away, we paint the sky" ["Kur dielli të ikë, do ta pikturojme qiellin"], still shine on the Grand Hotel Prishtina for Manifesta 14, curated by Catherine Nichols.

Images: “When the sun goes away we paint the sky,” 2022, Video credits to Hana Agimi, Yll Çitaku, Arton Krasniqi, © Manifesta 14 Prishtina Majlinda Hoxha

24/10/2022

Last Week!
The exhibition "Ledgers & Dwellers" by is open to the public for the last days, until Saturday, Oct. 29 - we look forward to seeing you!
Frank and sympathetic, at times voyeuristic, the works of Elizabeth Ravn portray the lives of strangers and loved ones, plants, animals, interior dwellings and urban topographies. For the exhibition Ledgers & Dwellers, the artist focuses on the continuously morphing terrain of Berlin and its inhabitants. Exuding movement and vigor, Ravn’s compositions appear to be in a state of constant mutability – temporal scenes marked by seasons, time of day and familiar architecture. Like Edward Hopper’s ambiguously evocative quotidian landscapes, these paintings invite the projection of our own subjective narratives by virtue of their relatable un-remarkableness. Yet they are sometimes tricks on depth and perspective, requiring a closer look in order to comprehend the reality of the situations at hand.
Images: Elizabeth Ravn "Ledgers & Dwellers”, 20220. Photos

24/10/2022

Last Week!
The exhibition "How To Make A Painting From Memory" by .bitch is open to the public for the last days, until Saturday, Oct. 29 - we look forward to seeing you!
Comilang’s video installation details the historical-political forces and the community behind Berlin’s Thai Park through a video installation accompanied by a new series of 3D printed sculptures. With interviews shot in both Berlin and Thailand, the film focuses on bringing together multiple ideas of communal architectures. How does the migrant female make space within spaces that aren’t her own and how do we draw lines between an architecture of belonging?
with a critical text by
Images: Stephanie Comilang, "How To Make A Painting From Memory”, 2002

24/10/2022

Last Week!
The exhibition "Imagine it Wet..." by is open to the public for the last days, until Saturday, Oct. 29 - we look forward to seeing you!
In the exhibition space, Tingleff’s immense fields of color twist into a glorious arrangement of pigments and shapes on towering canvases. Within each microcosmic work surge countless layers that glide into one heteroglossic surface. Through her careful and ardent selection of colors, Tingleff explores the material and emotive thresholds of oil paint.
Images: Tyra Tingleff, Imagine it Wet…, 2022.
Photos

18/10/2022

This Thursday, October 20th at 6:30 pm 's Teatrino hosts a conversation between and as the closing event of Lofoten International Art Festival - LIAF] 2022.
The talk is dedicated to Adoration, the permanent installation that Pauline has created in collaboration with a group of inmates in the parlor of the Giudecca Women's prison.
This project would never have existed without the irreplaceable commitment of and and the support of

The conversation is followed by the screening of videos by some of the amazing artists who accompanied Lofoten International Art Festival - LIAF] 2022:
Jonas Mekas, Orquestina de Pigmeos, video, 7 minutes 16 seconds, 2017rebet , Otolithe, animation, 4 minutes 4 seconds, sound, 4k, 2021
Desperate Times, video, 16 minutes 34 seconds, 2022
, Blood Sugar, video, 5 minutes 27 seconds, 2012
, Tidal Body, video, 9 minutes 50 seconds, 2022
WARP, video, variable duration, 2022
, M1, sound piece and video-projection, 15 minutes 27 seconds, 2022
Haroon Mirza, Year Zero, video, 14 minutes 56 seconds, 2022
, Museum on Fire (for Ed Ruscha), 2022

16/10/2022

Last Day in London!
Frieze London will be closing tonight, last chance to visit us and look at, among other artworks, two new paintings by Patrizio Di Massimo.
One of our returning artists to London, Patrizio Di Massimo is an artist who often paints his friends, acquaintances and family to explore the interpersonal complexities of life that are brought to dramatic composition.
You can view his work Booth at G15 until Sunday, October 16 in London!
Other artist on display include: Stephanie Comilang, Kasia Fudakowski, Petrit Halilaj, Tyra Tingleff & Ruth Wolf-Rehfeldt.
About the work (pictured right, first view): Patrizio Di Massimo, 'Cover Up', 2022

In 'Cover Up', the artist’s partner is depicted hiding under sumptuous bed covers; her long hair spilling out over the sheets, eyes widened as though in surprise. The heightened focus on the deep creases and wrinkles of the bedding, cast in the soft glow of natural light, is reminiscent of Di Massimo’s longstanding fascination with Baroque tones and portraiture, now accentuated with a touch of unplaceable emotion that gives the mundane scene a hint of strangeness.

Image: From left to right: Patrizio Di Massimo, "Sleeping Family (28B Erlanger Road)", 2022 & "Cover Up", 2022; Installation view of ChertLüdde at Booth G15, Frieze London, London, 2022; Oil on linen, 200 × 150 cm & 140 × 110 cm; Photo by Andrea Rossetti

14/10/2022

Kasia Fudakowski’s crustacean lamps are still shining at London! Come visit us at booth n.G15, to see her works and others by Stephanie Comilang, Patrizio Di Massimo, Kasia Fudakowski, Petrit Halilaj, Tyra Tingleff and Ruth Wolf-Rehfeldt.

About the work: "It’s clear to me now, albeit decidedly too late, that we have not always seen things from the same perspective, (Roasted) XVIIII", 2022

Vacated crustacean exoskeletons are formed by overlapping, melted acrylic cutouts. The shrimp, synonymous with diminutiveness and weakness, is enlarged here, and acquires a newfound, and rarely granted, status and focus. A surreal memento mori; the sculpture’s meek title, and the cloying sweetness of the translucent pink rippling armour, smuggle in darker themes: the injustice of the food-chain, our own dependence and vulnerability, and the inevitability of death.

Images: Kasia Fudakowski, "It’s clear to me now, albeit decidedly too late, that we have not always seen things from the same perspective, (Roasted) XVIIII", 2022, Plexiglass, acrylic paint, copper, wiring and bulbs, Shrimp: 130 × 50 × 20 cm, Photo by Billie Clarken; Installation view of ChertLüdde at Booth G15, Frieze London, London, 2022, Photo by Andrea Rossetti

13/10/2022

Friends in Frankfurt: see you tonight along with the giant flowers of and this time blooming for: "Where will we go from here? Twelve Art Stories Told from Spain"
Opening on Thursday, 13 October 2022, at 7 pm
With: María Alcaide, Noa and Lara Castro, Fito Conesa, Regina de Miguel, El Palomar, Antoni Hervàs, Momu & No Es, Andrea Muniáin, Paloma Polo, Juan Pérez Agirregoikoa, Putochinomaricón, Petrit Halilaj and Álvaro Urbano .
Curated by Ana Ara and Rosa Ferré
Image: Petrit Halilaj, Alvaro Urbano, "10th of May 2016 (Cherry)", 2020
Stainless steel, canvas, acrylic paint, thread. Flower: 270 × 450 × 450 cm ø 450 cm.

12/10/2022

Open Now!
ChertLüdde is at London this week! Come visit Booth G15, where the gallery is presenting works by Stephanie Comilang, Patrizio Di Massimo, Kasia Fudakowski, Petrit Halilaj and Ruth Wolf-Rehfeldt.
The exhibited works convey a vibrant selection of approaches in painting, drawing and sculpture. Through abstraction, figuration and portraiture, the medium of oil paint is explored through its material and emotive possibilities, while sculptural works tell of regional histories and close encounters. Together, interpersonal relationships become foregrounded through different techniques. bitch
Image: Installation view of ChertLüdde at Booth G15, Frieze London, London, 2022; Photos by Andrea Rossetti

11/10/2022

From tomorrow (October 12th) until October 16th, ChertLüdde will be presenting works by Stephanie Comilang, Patrizio Di Massimo, Kasia Fudakowski, Petrit Halilaj, Tyra Tingleff & Ruth Wolf-Rehfeldt at London, Booth G15!
Here highlighted: Ruth Wolf-Rehfeldt, Schwimmende Erinnerung (Floating memory), 1965. Oil on board, 24 × 30 cm
Although she is largely known for her “typewritings,” as she calls them, Ruth Wolf-Rehfeldt also made oil paintings between the mid-sixties and early seventies. From the kitchen of her apartment, shared with artist and partner Robert Rehfeldt, she produced small works on canvas, some painted within the same period as her typewritten works. Contrary to her typewritings, which could be widely distributed across a global network thanks to their convenient format and zincographic printing, the paintings were much fewer and private in number and audience.
While her typewritten works are pioneering studies of conceptual art, language and design, the paintings often portray everyday domestic scenes of still life - comparatively traditional in medium and subject matter. Wolf-Rehfeldt’s subjects were usually humble and immediate to her daily realities, such as in Strauß I (1976), which depicts a small vase overflowing with flora. However, they also reveal, in works such as Schwimmende Erinnerung (1965), the artist’s exploration of intense color combinations, abstraction and movement. The title of this work roughly translates to “floating/swimming memory,” which draws associations to the painting’s rippling, almost psychedelic, wave-like patterns.

The only historical perspective the gallery is presenting at Frieze London 2022, Wolf-Rehfeldt’s work has begun to gain newly invigorated interest, including being awarded Gerhard Altenbourg Prize of the Lindenau Museums 2021 and the Hannah Höch Prize 2022.
bitch

Image: Ruth Wolf-Rehfeldt, Schwimmende Erinnerung, 1965; Oil on board, 24 × 30 cm, 31.5 × 37.6 × 4.4 cm (framed); Photo by Andrea Rossetti

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Videos

We warmly congratulate Petrit Halilaj for his participation in “It matters what worlds world worlds: how to tell stories otherwise” Manifesta 14, the European Nomadic Biennale in Kosovo Curated by Catherine Nichols With his newest installation: "When the sun goes away, we paint the sky" ["Kur dielli të ikë, do ta pikturoj qiellin"] Located at Grand Hotel Prishtina from 22 July - 30 October 2022 Prishtina, Kosovo @xixellojme @manifestabiennial . Petrit Halilaj returns to Prishtina with a new interventional project across the city that involves its inhabitants. "When the sun goes away, we paint the sky" creates a constellation that will be lit for the first time on July 22, 2022. The work will be activated with the sign atop the Grand Hotel Prishtina: its stars, which have been lying flat on the roof for a long time now, are temporarily reassembled by the artist and multiplied so that they will descend along the building and shine across the city. The project extends an invitation to the local community to construct makeshift stars and place them in their own private spaces, balconies, rooms, windows, or gardens, where they can be seen by passersby and become part of a collective constellation. To participate, read the full letter by the artist on Manifesta Website: https://manifesta14.org/news/when-the-sun-goes-away-we-paint-the-sky-petrit-halilaj/ #petrithalilaj #manifesta14 #pristhina Video: creation and journey of the stars for "When the sun goes away, we paint the sky" / Credits & thanks: @hanaagimi @neostik @koperativa @artonkra @ferdilimani