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ChertLüdde

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

11/10/2026

This year at Art Basel Paris, Ellen de Bruijne PROJECTS and ChertLüdde bring together three feminist artists from different generations whose practices challenge prescriptive ideas of femininity, domesticity, and “women’s work.”

Among the artists is Clemen Parrocchetti (1923–2016, Milan) archivioclemenparrocchetti

Clementine Parrocchetti’s art is known for its feminist perspective, combining embroidery, textiles, and everyday materials to challenge traditional gender roles and the domestic sphere. Her work transforms traditionally feminine crafts into powerful forms of artistic and political expression.

Discover more at:
📍Art Basel Paris, Booth 1K3
📅 21 – 25 October 2026

Images: Clemen Parrocchetti, Untitled, 1981, Embroidery with sequins and thread on tulle, ink and watercolor on cardstock, 42 × 27 × 5 cm; Clemen Parrocchetti, La luna interrotta dal fulmine / The moon interrupted by lightning, 1985; Sequin and thread embroidery on black canvas sewn on gauze; 67 × 63 cm; All photos by Marjorie Brunet Plaza

26/09/2026

This year at Art Basel Paris, Ellen de Bruijne PROJECTS and ChertLüdde bring together three feminist artists from different generations whose practices challenge prescriptive ideas of femininity, domesticity, and “women’s work.” Across distinct materials and visual languages, Pauline Curnier Jardin (1980, Marseille), Clemen Parrocchetti (1923–2016, Milan), and Lily van der Stokker (1954, Den Bosch) make use of domestic, decorative, and everyday tropes to counter patriarchal conventions in humorous, critical, and rebellious ways. Central in the booth will be a new installation by Pauline Curnier Jardin, further expanding her presence in the city following her recent solo show at Palais de Tokyo.

Pauline Curnier Jardin

Lily van der Stokker

We look forward to seeing you at:
📍Art Basel Paris, Booth 1K3
📅 21 – 25 October 2026

Images: (1) Pauline Curnier Jardin, ‘La bouche de Rolanda della Bocca’, 2010, Mixed fabrics, 95 × 97 × 9 cm, Photo by Marjorie Brunet Plaza; (2) Pauline Curnier Jardin, ‘Was man aus Liebe tut 3’, 2022; Glazed ceramic, 40 × 50 cm, Photo by Marjorie Brunet Plaza; (3) 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, Photo by Marjorie Brunet Plaza; (4) Clemen Parrocchetti, ‘Bocciolo / Bud’, 1981; (5) Embroidery with sequins and thread on tulle, ink and watercolor glued and sewn on cardboard, written in watercolor and pencil; 42 × 27 × 5 cm, Photo by Andrea Rossetti; (6) Lily van der Stokker, ‘Renovation Party (design for wall painting with objects)’, 2003, colour pencil and marker on paper, 30 x 42 cm; (7) Lily van der Stokker, 9 O’Clock (design for wall painting Gobelin), 2005, colour pencil and marker on paper, 24 x 33 cm

05/09/2026

Opening today, Saturday in Berlin:

Hallen 07 Hallen Kunstfestival
Wilhelm Hallen - Berlin, Berlin
until 13 September 2026

with
Heike Kabisch
Tyra Tingleff Tyra Tingleff
& Gabriel Chaile Gabriel Chaile

In the main hall of Hallen 07, German artist Heike Kabisch creates a dreamscape of sleeping forests, stone-like sea creatures, and collages crafted from discarded Berlin Staatsbibliothek maps that chart fictional journeys. Depictions of the artist and her daughter drift through many of the sculptures, surfacing within images of seahorses and various marine hybrids. Renowned for their unique parenting adaptations, the seahorses transform the installation into a tender meditation on care and parenthood amid unstable climates and uncertain rest.

In Matchstick, Norwegian artist Tyra Tingleff presents abstract bodyscape paintings in red and purple that seem to resemble flowers, organs, or fragments of a body, but never fully settle into a single image. Part of a series Pulse Pause, the paintings suggest the subtle rhythm of a heartbeat despite remaining still.

Argentinian sculptor Gabriel Chaile’s Brenda (2022) is positioned outside Atelier 7. The functional sculpture recalls pre-Columbian artefacts from the artist’s native region of Tucumán.

Argentinian sculptor Gabriel Chaile’s Brenda (2022), a functional wood-fired oven sculpture, is positioned outside Atelier 7. The work recalls pre-Columbian artefacts from the artist’s native region of Tucumán and is envisioned as an object to gather around. From noon on Saturdays and Sundays, Brenda will be activated by the Ferro on site: guests can place their orders at the counter and then pick up their pizzas directly from the oven sculpture.

Images: Installation view of Hallen 07, Wilhelm Hallen, Berlin, 2026, Photos by Marjorie Brunet Plaza, Courtesy of the Artists & ChertLüdde, Berlin

05/07/2026

On Saturday, 13th of June 2026, Ayami Awazuhara () hosted a special culinary event with artist Kasia Fudakowski for the vernissage of ’s 80th anniversary exhibition ‘Wo ich wohne’.

‘Playing House’ was activated by Chef Ayami Awazuhara and artist Kasia Fudakowski, using Fudakowski’s lively, juddering steel outline of the 80 year old Haus am Waldsee as a display for Awazuhara’s delicious treats to perch on and dangle off of.

Ayami Awazuhara originally studied Fine Art at the University of the Arts Berlin before her journey as a chef began. Creating both omakase and à la carte menus, Awazuhara’s food blends traditions of both professional and home cooking.

Kasia Fudakowski’s diverse and playful practice, which includes sculpture, film, performance and writing, explores social riddles through material encounters, surreal logic and comic theory. Her works refer to the allure and danger of binary categorisation and the subsequent absurdity that it unfolds in our political and social climate, revealing the discrepancies amongst cultural norms.

Ayami Awazuhara & Kasia Fudakowski, Activation of ‘Playing House’, Haus am Waldsee, 13 June 2026, Images courtesy of the artists

26/06/2026

Now in Berlin: Zora Mann () at the Window

Zora Mann collaborated with Hermès to create a surreal installation in the Kudam store windows in Berlin.

Drawing on themes of travel, her drawings take on a new lyrical dimension; weaving together the brand’s codes, she moves through Berlin’s urban landscape, blending characters, objects, and places with her classic introspective style.

Mann’s identifiable aesthetic ventures into the realms of disparate experiences and scores of interests. Her vibrating, psychedelic expression finds influence in geometry, dreamlike shifts, vibrant, affective color palettes, and surreal repetition that moves in relation to so many other competing movements.

📍 Hermès Kurfürstendamm
Kurfürstendamm 58, 10707 Berlin

Images: Zora Mann, Installation view at Hermès, Berlin, 2026, Photos Christian Kain

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

Adresse

Hauptstraße 18
Berlin
10827

Öffnungszeiten

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

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http://www.chertluedde.com/

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