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Opening tonight: 22 May 2026, 8 pm

Agnes Scherer @agnesscherer
"Three Wicked Games"
Curated by Mirela Baciak @mire_la_
@salzburgerkunstverein, Salzburg
23 May 2026 – 12 July 2026

Agnes Scherer’s exhibition "Three Wicked Games" departs from an inventory of contemporary obsessions and lets it drift backwards, or sideways, into two so-called tapestry cartoons by Francisco Goya: "Blind Man’s Bluff" (1789) and "The Straw Manikin" (1791). Both depict folk games.

The artist recognises in these games a structure that feels uncannily contemporary. In both compositions, a powerless figure occupies the centre. Around it, society arranges itself as choreography. Someone is blind, someone is thrown, someone laughs, and someone waits for their turn. To these games, Scherer adds a third, imagined scene that likewise suggests play.

Scherer translates these cartoons into a ghostly puppet-theatre. While she quotes the compositions almost one-to-one, she empties the figures of their bodily fullness. The intact figure no longer feels right, Scherer insists. It belongs to a fantasy of coherence that the present cannot support. What interests the artist more than the body is life under conditions of late capitalism that is defined by a loop of for-profit transactions and ongoing dependencies.

Image: Sculpture by Agnes Scherer, 2026, Photo by Andrew Phelps

Opening tonight: Thursday, 21 May at 6.30 pm

"Mémoires Voyageuses“
with Sofia Salazar Rosales @sofiasalazarbb
Curated by Ines Goldbach
At Kunsthaus Baselland, Münchenstein/Basel, 2026
@kunsthausbaselland, Basel
22 May - 16 August 2026

In this presentation at the Kunsthaus, Salazar Rosales guides visitors through a series of structures, gestures, and sculptures that evoke precious or durable materials, though they themselves are nothing of the sort. As they move through these spaces and structures, visitors can sense their great poetry as well as the appreciation that the artist extends not only to these simple materials, but particularly to the history of their origins, which is often marked by migration, displacement, the colonial past, loss, and longing.

Images: Sofía Salazar Rosales, Installation view of "Journeys of a Tear", C3A Centro de Creación Contemporánea de Andalucía, Córdoba, 2026, Photo by Pablo Ballesteros

Opening tonight: Thursday, 21 May at 6.30 pm

"Mémoires Voyageuses“
with Sofia Salazar Rosales @sofiasalazarbb
Curated by Ines Goldbach
At Kunsthaus Baselland, Münchenstein/Basel, 2026
@kunsthausbaselland, Basel
22 May - 16 August 2026

In this presentation at the Kunsthaus, Salazar Rosales guides visitors through a series of structures, gestures, and sculptures that evoke precious or durable materials, though they themselves are nothing of the sort. As they move through these spaces and structures, visitors can sense their great poetry as well as the appreciation that the artist extends not only to these simple materials, but particularly to the history of their origins, which is often marked by migration, displacement, the colonial past, loss, and longing.

Images: Sofía Salazar Rosales, Installation view of "Journeys of a Tear", C3A Centro de Creación Contemporánea de Andalucía, Córdoba, 2026, Photo by Pablo Ballesteros

Agnes Scherer @agnesscherer & Selma selman @selman.selma currently have works on view at "House of Nisaba. New Stories of Painting“, curated by Hendrik Folkerts @hendrik_folkerts. The exhibition will be on view at @modernamuseet, Stockholm until 30 August 2026.

“House of Nisaba: New Stories of Painting“ signals a return to figurative painting in contemporary art, through the lens of allegory. The exhibition features newly commissioned paintings by Selma Selman and Agnes Scherer, among others.

In the exhibition, Selman presents new oil paintings on metal, including a self-portrait on a large satellite dish.

Scherer’s large, scroll-like collage and watercolour on paper cuts through the exhibition, measuring over 50 meters in length.

Images: Installation view of House of Nisaba, Moderna Museet, Stockholm, 2026, Photo by My Matson / Moderna Museet-Stockholm

Agnes Scherer @agnesscherer & Selma selman @selman.selma currently have works on view at "House of Nisaba. New Stories of Painting“, curated by Hendrik Folkerts @hendrik_folkerts. The exhibition will be on view at @modernamuseet, Stockholm until 30 August 2026.

“House of Nisaba: New Stories of Painting“ signals a return to figurative painting in contemporary art, through the lens of allegory. The exhibition features newly commissioned paintings by Selma Selman and Agnes Scherer, among others.

In the exhibition, Selman presents new oil paintings on metal, including a self-portrait on a large satellite dish.

Scherer’s large, scroll-like collage and watercolour on paper cuts through the exhibition, measuring over 50 meters in length.

Images: Installation view of House of Nisaba, Moderna Museet, Stockholm, 2026, Photo by My Matson / Moderna Museet-Stockholm

Agnes Scherer @agnesscherer & Selma selman @selman.selma currently have works on view at "House of Nisaba. New Stories of Painting“, curated by Hendrik Folkerts @hendrik_folkerts. The exhibition will be on view at @modernamuseet, Stockholm until 30 August 2026.

“House of Nisaba: New Stories of Painting“ signals a return to figurative painting in contemporary art, through the lens of allegory. The exhibition features newly commissioned paintings by Selma Selman and Agnes Scherer, among others.

In the exhibition, Selman presents new oil paintings on metal, including a self-portrait on a large satellite dish.

Scherer’s large, scroll-like collage and watercolour on paper cuts through the exhibition, measuring over 50 meters in length.

Images: Installation view of House of Nisaba, Moderna Museet, Stockholm, 2026, Photo by My Matson / Moderna Museet-Stockholm

Agnes Scherer @agnesscherer & Selma selman @selman.selma currently have works on view at "House of Nisaba. New Stories of Painting“, curated by Hendrik Folkerts @hendrik_folkerts. The exhibition will be on view at @modernamuseet, Stockholm until 30 August 2026.

“House of Nisaba: New Stories of Painting“ signals a return to figurative painting in contemporary art, through the lens of allegory. The exhibition features newly commissioned paintings by Selma Selman and Agnes Scherer, among others.

In the exhibition, Selman presents new oil paintings on metal, including a self-portrait on a large satellite dish.

Scherer’s large, scroll-like collage and watercolour on paper cuts through the exhibition, measuring over 50 meters in length.

Images: Installation view of House of Nisaba, Moderna Museet, Stockholm, 2026, Photo by My Matson / Moderna Museet-Stockholm

Opening tonight at 7pm:
#KasiaFudakowski in
“Paravent ist ein Objekt des Dazwischen“
Curated by Jennifer Cierlitza @jennifercierlitza
@kunstverein_siegen

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

Opening tonight at 7pm:
#KasiaFudakowski in
“Paravent ist ein Objekt des Dazwischen“
Curated by Jennifer Cierlitza @jennifercierlitza
@kunstverein_siegen

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

Opening tonight at 7pm:
#KasiaFudakowski in
“Paravent ist ein Objekt des Dazwischen“
Curated by Jennifer Cierlitza @jennifercierlitza
@kunstverein_siegen

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

Opening tonight at 7pm:
#KasiaFudakowski in
“Paravent ist ein Objekt des Dazwischen“
Curated by Jennifer Cierlitza @jennifercierlitza
@kunstverein_siegen

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

Opening tonight at 7pm:
#KasiaFudakowski in
“Paravent ist ein Objekt des Dazwischen“
Curated by Jennifer Cierlitza @jennifercierlitza
@kunstverein_siegen

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

Opening tonight at 7pm:
#KasiaFudakowski in
“Paravent ist ein Objekt des Dazwischen“
Curated by Jennifer Cierlitza @jennifercierlitza
@kunstverein_siegen

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

Opening tomorrow:
Agnes Scherer @agnesscherer & Selma selman @selman.selma
"House of Nisaba. New Stories of Painting“
Curated by Hendrik Folkerts @hendrik_folkerts
@modernamuseet, Stockholm
14 May – 30 August 2026

Stockholm's Moderna Museet presents a major painting show featuring work by Selma Selman and Agnes Scherer.

“House of Nisaba: New Stories of Painting“ signals a return to figurative painting in contemporary art, through the lens of allegory. The exhibition features newly commissioned paintings by Selma Selman and Agnes Scherer, among others.

Some of the exhibition’s main questions become: what does painting look like and mean today as knowledge transforms, information accelerates and societies splinter? And what stories are these artists telling us?

Artist Talk: 14 May 2026 / 3:15 – 3:45 pm
Moderna Museet, The Foyer, Floor 4

As part of the opening program at Moderna Museet, Selma Selman will be in conversation with Sanya Kantarovsky on May 14 at 3:15 pm as part of a marathon interview session with curator Hendrik Folkerts. The artists will discuss the creation of the works presented in the exhibition, their artistic methodologies, and their relationship to contemporary painting.

Image: Agnes Scherer, Detail of Études Liminaires, 2026, Collage and watercolour on paper, 80 × 5100 cm, Photo by Rainer Iglar & Selma Selman, Detail of "Gorgons (Do Not Look Into Our Eyes)“, part of art work., 2025/2026, Photo by Marjorie Brunet Plaza

Opening tomorrow:
Agnes Scherer @agnesscherer & Selma selman @selman.selma
"House of Nisaba. New Stories of Painting“
Curated by Hendrik Folkerts @hendrik_folkerts
@modernamuseet, Stockholm
14 May – 30 August 2026

Stockholm's Moderna Museet presents a major painting show featuring work by Selma Selman and Agnes Scherer.

“House of Nisaba: New Stories of Painting“ signals a return to figurative painting in contemporary art, through the lens of allegory. The exhibition features newly commissioned paintings by Selma Selman and Agnes Scherer, among others.

Some of the exhibition’s main questions become: what does painting look like and mean today as knowledge transforms, information accelerates and societies splinter? And what stories are these artists telling us?

Artist Talk: 14 May 2026 / 3:15 – 3:45 pm
Moderna Museet, The Foyer, Floor 4

As part of the opening program at Moderna Museet, Selma Selman will be in conversation with Sanya Kantarovsky on May 14 at 3:15 pm as part of a marathon interview session with curator Hendrik Folkerts. The artists will discuss the creation of the works presented in the exhibition, their artistic methodologies, and their relationship to contemporary painting.

Image: Agnes Scherer, Detail of Études Liminaires, 2026, Collage and watercolour on paper, 80 × 5100 cm, Photo by Rainer Iglar & Selma Selman, Detail of "Gorgons (Do Not Look Into Our Eyes)“, part of art work., 2025/2026, Photo by Marjorie Brunet Plaza

Now in Barcelona:
Annette Frick in “L’entrada a un bosc”
Curated by @marc_navarro_
@fundaciobrossa – Centre de les Arts Lliures, Barcelona
On view until 11 October 2026

"The entrance to a forest“, the second exhibition in the series "Say, something. Joan Brossa and the object poems“ curated by Marc Navarro, takes as its starting point two object poems that Brossa projected as homages although, despite their commemorative nature, we could classify them as counter-monuments.

For the show, #AnnetteFrick presents work form her “Cosmic Elements/Secret Secretions” series (2002/2003). These photograms use ejaculate and plant elements to illustrate their similarities to one another and also to abstract their forms.

By making bodies, flowers, the forest, or bodily fluids present, the exhibition invokes a tenacious vitality and, at the same time, makes these representations manifestations of vulnerability and signs of passive resistance.

Installation view of "L’entrada a un bosc", curated by Marc Navarro, Fundació Joan Brossa – Centre de les Arts Lliures, Barcelona, 2026, Photo by Roberto Ruiz, ChertLüdde, Berlin and Annette Frick, Berlin and VG Bildkunst, Berlin

Now in Barcelona:
Annette Frick in “L’entrada a un bosc”
Curated by @marc_navarro_
@fundaciobrossa – Centre de les Arts Lliures, Barcelona
On view until 11 October 2026

"The entrance to a forest“, the second exhibition in the series "Say, something. Joan Brossa and the object poems“ curated by Marc Navarro, takes as its starting point two object poems that Brossa projected as homages although, despite their commemorative nature, we could classify them as counter-monuments.

For the show, #AnnetteFrick presents work form her “Cosmic Elements/Secret Secretions” series (2002/2003). These photograms use ejaculate and plant elements to illustrate their similarities to one another and also to abstract their forms.

By making bodies, flowers, the forest, or bodily fluids present, the exhibition invokes a tenacious vitality and, at the same time, makes these representations manifestations of vulnerability and signs of passive resistance.

Installation view of "L’entrada a un bosc", curated by Marc Navarro, Fundació Joan Brossa – Centre de les Arts Lliures, Barcelona, 2026, Photo by Roberto Ruiz, ChertLüdde, Berlin and Annette Frick, Berlin and VG Bildkunst, Berlin

Now in Barcelona:
Annette Frick in “L’entrada a un bosc”
Curated by @marc_navarro_
@fundaciobrossa – Centre de les Arts Lliures, Barcelona
On view until 11 October 2026

"The entrance to a forest“, the second exhibition in the series "Say, something. Joan Brossa and the object poems“ curated by Marc Navarro, takes as its starting point two object poems that Brossa projected as homages although, despite their commemorative nature, we could classify them as counter-monuments.

For the show, #AnnetteFrick presents work form her “Cosmic Elements/Secret Secretions” series (2002/2003). These photograms use ejaculate and plant elements to illustrate their similarities to one another and also to abstract their forms.

By making bodies, flowers, the forest, or bodily fluids present, the exhibition invokes a tenacious vitality and, at the same time, makes these representations manifestations of vulnerability and signs of passive resistance.

Installation view of "L’entrada a un bosc", curated by Marc Navarro, Fundació Joan Brossa – Centre de les Arts Lliures, Barcelona, 2026, Photo by Roberto Ruiz, ChertLüdde, Berlin and Annette Frick, Berlin and VG Bildkunst, Berlin

Now in Barcelona:
Annette Frick in “L’entrada a un bosc”
Curated by @marc_navarro_
@fundaciobrossa – Centre de les Arts Lliures, Barcelona
On view until 11 October 2026

"The entrance to a forest“, the second exhibition in the series "Say, something. Joan Brossa and the object poems“ curated by Marc Navarro, takes as its starting point two object poems that Brossa projected as homages although, despite their commemorative nature, we could classify them as counter-monuments.

For the show, #AnnetteFrick presents work form her “Cosmic Elements/Secret Secretions” series (2002/2003). These photograms use ejaculate and plant elements to illustrate their similarities to one another and also to abstract their forms.

By making bodies, flowers, the forest, or bodily fluids present, the exhibition invokes a tenacious vitality and, at the same time, makes these representations manifestations of vulnerability and signs of passive resistance.

Installation view of "L’entrada a un bosc", curated by Marc Navarro, Fundació Joan Brossa – Centre de les Arts Lliures, Barcelona, 2026, Photo by Roberto Ruiz, ChertLüdde, Berlin and Annette Frick, Berlin and VG Bildkunst, Berlin

Take a closer look at the paintings of #RobertRehfeldt on view today at the gallery.

In ‘Mail Message from My Studio', ChertLüdde presents the work of Robert Rehfeldt (1931, Stargard – 1993, Berlin), one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

Christopher Williams-Wynn writes, "Part of a large series of paintings begun in the early 1980s, and in some cases completed in the early 1990s, these paintings explore themes intrinsically linked to the motif of the cross (as an intersection between life and death but also as an interruption of a line of continuity), the barrier or border (thus questioning the division imposed by the wall), and dissolve into abstract details of scratches and graffiti that seem to mimic spontaneous gestures on that very same surface of the separating wall... Working the surface so intensively situates painting as a thoroughly material arena for juxtaposing texts and images, drawing and painting.“

Photos by Marjorie Brunet Plaza

Take a closer look at the paintings of #RobertRehfeldt on view today at the gallery.

In ‘Mail Message from My Studio', ChertLüdde presents the work of Robert Rehfeldt (1931, Stargard – 1993, Berlin), one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

Christopher Williams-Wynn writes, "Part of a large series of paintings begun in the early 1980s, and in some cases completed in the early 1990s, these paintings explore themes intrinsically linked to the motif of the cross (as an intersection between life and death but also as an interruption of a line of continuity), the barrier or border (thus questioning the division imposed by the wall), and dissolve into abstract details of scratches and graffiti that seem to mimic spontaneous gestures on that very same surface of the separating wall... Working the surface so intensively situates painting as a thoroughly material arena for juxtaposing texts and images, drawing and painting.“

Photos by Marjorie Brunet Plaza

Take a closer look at the paintings of #RobertRehfeldt on view today at the gallery.

In ‘Mail Message from My Studio', ChertLüdde presents the work of Robert Rehfeldt (1931, Stargard – 1993, Berlin), one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

Christopher Williams-Wynn writes, "Part of a large series of paintings begun in the early 1980s, and in some cases completed in the early 1990s, these paintings explore themes intrinsically linked to the motif of the cross (as an intersection between life and death but also as an interruption of a line of continuity), the barrier or border (thus questioning the division imposed by the wall), and dissolve into abstract details of scratches and graffiti that seem to mimic spontaneous gestures on that very same surface of the separating wall... Working the surface so intensively situates painting as a thoroughly material arena for juxtaposing texts and images, drawing and painting.“

Photos by Marjorie Brunet Plaza

Take a closer look at the paintings of #RobertRehfeldt on view today at the gallery.

In ‘Mail Message from My Studio', ChertLüdde presents the work of Robert Rehfeldt (1931, Stargard – 1993, Berlin), one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

Christopher Williams-Wynn writes, "Part of a large series of paintings begun in the early 1980s, and in some cases completed in the early 1990s, these paintings explore themes intrinsically linked to the motif of the cross (as an intersection between life and death but also as an interruption of a line of continuity), the barrier or border (thus questioning the division imposed by the wall), and dissolve into abstract details of scratches and graffiti that seem to mimic spontaneous gestures on that very same surface of the separating wall... Working the surface so intensively situates painting as a thoroughly material arena for juxtaposing texts and images, drawing and painting.“

Photos by Marjorie Brunet Plaza

As part of its 40th anniversary celebration, the @schirnkunsthalle Frankfurt will host a new activation of a balloon work by Rosemary Mayer @rosemarymayerart, called "Connections (Frankfurt) ".

The activation will take place on Saturday, 9 May 2026 from 2 – 4 pm.

There will also be a talk with Marie Warsh @marierayray from the Estate of Rosemary Mayer on Sunday, 10 May 2026 at 4 pm.

"Connections (Frankfurt)" is a continuation of Rosemary Mayer’s practice of making ephemeral installations with balloons and follows the intervention "Connections (Los Angeles) " held on November 11, 2023 at the Wallis Annenberg Center for the Performing Arts. Mayer intended these installations, part of a larger body of work that she called "Temporary Monuments", to celebrate and memorialize individuals and communities and to create connections to time, place, and history.

"Connections" draws from a close study of Mayer’s archive and documentation of her past installations with balloons. It is inspired by an unrealized proposal from 1978, called "Connections", for which she planned to invite people to dedicate balloons to someone important to them and then collectively decorate and launch the balloons. As with all of her installations with balloons, each balloon presented in Frankfurt will have a series of words and numbers written on it: the name of the person, a date associated with them, and a star in the sky and a flower blooming on and around that date.

And still on view in Munich:

“Shifting the Silence. Gegenwartskunst im Lenbachhaus” at Kunstverein München in Munich features Rosemary Mayer’s 1973 sculpture Hypsipyle from the museum’s collection, on view through 31 January 2027.

Images: (1) Rosemary Mayer, Spell, 1977, (Temporary monuments: Installations), Balloons, helium, paint, fabric, and rope; (2) Rosemary Mayer, Connections, 1978, (Temporary Monuments), Colored pencil and graphite on paper, 66 × 101.6 cm; (3) Installation view of Shifting the Silence, Städtische Galerie im Lenbachhaus und Kunstbau München, 2025, Photo by Lukas Schramm, Lenbachhaus, Courtesy of Städtische Galerie im Lenbachhaus, München

As part of its 40th anniversary celebration, the @schirnkunsthalle Frankfurt will host a new activation of a balloon work by Rosemary Mayer @rosemarymayerart, called "Connections (Frankfurt) ".

The activation will take place on Saturday, 9 May 2026 from 2 – 4 pm.

There will also be a talk with Marie Warsh @marierayray from the Estate of Rosemary Mayer on Sunday, 10 May 2026 at 4 pm.

"Connections (Frankfurt)" is a continuation of Rosemary Mayer’s practice of making ephemeral installations with balloons and follows the intervention "Connections (Los Angeles) " held on November 11, 2023 at the Wallis Annenberg Center for the Performing Arts. Mayer intended these installations, part of a larger body of work that she called "Temporary Monuments", to celebrate and memorialize individuals and communities and to create connections to time, place, and history.

"Connections" draws from a close study of Mayer’s archive and documentation of her past installations with balloons. It is inspired by an unrealized proposal from 1978, called "Connections", for which she planned to invite people to dedicate balloons to someone important to them and then collectively decorate and launch the balloons. As with all of her installations with balloons, each balloon presented in Frankfurt will have a series of words and numbers written on it: the name of the person, a date associated with them, and a star in the sky and a flower blooming on and around that date.

And still on view in Munich:

“Shifting the Silence. Gegenwartskunst im Lenbachhaus” at Kunstverein München in Munich features Rosemary Mayer’s 1973 sculpture Hypsipyle from the museum’s collection, on view through 31 January 2027.

Images: (1) Rosemary Mayer, Spell, 1977, (Temporary monuments: Installations), Balloons, helium, paint, fabric, and rope; (2) Rosemary Mayer, Connections, 1978, (Temporary Monuments), Colored pencil and graphite on paper, 66 × 101.6 cm; (3) Installation view of Shifting the Silence, Städtische Galerie im Lenbachhaus und Kunstbau München, 2025, Photo by Lukas Schramm, Lenbachhaus, Courtesy of Städtische Galerie im Lenbachhaus, München

As part of its 40th anniversary celebration, the @schirnkunsthalle Frankfurt will host a new activation of a balloon work by Rosemary Mayer @rosemarymayerart, called "Connections (Frankfurt) ".

The activation will take place on Saturday, 9 May 2026 from 2 – 4 pm.

There will also be a talk with Marie Warsh @marierayray from the Estate of Rosemary Mayer on Sunday, 10 May 2026 at 4 pm.

"Connections (Frankfurt)" is a continuation of Rosemary Mayer’s practice of making ephemeral installations with balloons and follows the intervention "Connections (Los Angeles) " held on November 11, 2023 at the Wallis Annenberg Center for the Performing Arts. Mayer intended these installations, part of a larger body of work that she called "Temporary Monuments", to celebrate and memorialize individuals and communities and to create connections to time, place, and history.

"Connections" draws from a close study of Mayer’s archive and documentation of her past installations with balloons. It is inspired by an unrealized proposal from 1978, called "Connections", for which she planned to invite people to dedicate balloons to someone important to them and then collectively decorate and launch the balloons. As with all of her installations with balloons, each balloon presented in Frankfurt will have a series of words and numbers written on it: the name of the person, a date associated with them, and a star in the sky and a flower blooming on and around that date.

And still on view in Munich:

“Shifting the Silence. Gegenwartskunst im Lenbachhaus” at Kunstverein München in Munich features Rosemary Mayer’s 1973 sculpture Hypsipyle from the museum’s collection, on view through 31 January 2027.

Images: (1) Rosemary Mayer, Spell, 1977, (Temporary monuments: Installations), Balloons, helium, paint, fabric, and rope; (2) Rosemary Mayer, Connections, 1978, (Temporary Monuments), Colored pencil and graphite on paper, 66 × 101.6 cm; (3) Installation view of Shifting the Silence, Städtische Galerie im Lenbachhaus und Kunstbau München, 2025, Photo by Lukas Schramm, Lenbachhaus, Courtesy of Städtische Galerie im Lenbachhaus, München

This week in Venice:

Monia Ben Hamouda @monia.benhamouda.studio
‘Fragments of Fire Worship‘
Presented by @fondazionebvlgari as a Collateral Event of the Biennale Arte 2026 @labiennale
Biblioteca Nazionale Marciana, Venice
9 May – 22 November 2026

During the 61st Biennale di Venezia, artist Monia Ben Hamouda will exhibit in the In the Vestibule of the Biblioteca Nazionale Marciana, as part of an official collateral event promoted by Fondazione Bvlgari.

The artist’s new site-specific work, ‘Fragments of Fire Worship (I, II)‘, expands the polysemy of fire, a culturally and historically charged element that destroys and illuminates at the same time. The artist explains: "What I wanted to introduce into that environment was not an image of fire, but fire as a logic: a force that exposes, transforms, and destabilizes what claims to be fixed.”

Images: Installation view of Fragments of Fire Worship (1 & 2), Biblioteca Nazionale Marciana, Venice, 2026, Photos by T-space, Courtesy of Fondazione Bvlgari

This week in Venice:

Monia Ben Hamouda @monia.benhamouda.studio
‘Fragments of Fire Worship‘
Presented by @fondazionebvlgari as a Collateral Event of the Biennale Arte 2026 @labiennale
Biblioteca Nazionale Marciana, Venice
9 May – 22 November 2026

During the 61st Biennale di Venezia, artist Monia Ben Hamouda will exhibit in the In the Vestibule of the Biblioteca Nazionale Marciana, as part of an official collateral event promoted by Fondazione Bvlgari.

The artist’s new site-specific work, ‘Fragments of Fire Worship (I, II)‘, expands the polysemy of fire, a culturally and historically charged element that destroys and illuminates at the same time. The artist explains: "What I wanted to introduce into that environment was not an image of fire, but fire as a logic: a force that exposes, transforms, and destabilizes what claims to be fixed.”

Images: Installation view of Fragments of Fire Worship (1 & 2), Biblioteca Nazionale Marciana, Venice, 2026, Photos by T-space, Courtesy of Fondazione Bvlgari

This week in Venice:

Monia Ben Hamouda @monia.benhamouda.studio
‘Fragments of Fire Worship‘
Presented by @fondazionebvlgari as a Collateral Event of the Biennale Arte 2026 @labiennale
Biblioteca Nazionale Marciana, Venice
9 May – 22 November 2026

During the 61st Biennale di Venezia, artist Monia Ben Hamouda will exhibit in the In the Vestibule of the Biblioteca Nazionale Marciana, as part of an official collateral event promoted by Fondazione Bvlgari.

The artist’s new site-specific work, ‘Fragments of Fire Worship (I, II)‘, expands the polysemy of fire, a culturally and historically charged element that destroys and illuminates at the same time. The artist explains: "What I wanted to introduce into that environment was not an image of fire, but fire as a logic: a force that exposes, transforms, and destabilizes what claims to be fixed.”

Images: Installation view of Fragments of Fire Worship (1 & 2), Biblioteca Nazionale Marciana, Venice, 2026, Photos by T-space, Courtesy of Fondazione Bvlgari

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Welcome to Gaytore!

For Petrit Halilaj’s (@xixellojme) current exhibition ‘Who does the earth belong to while painting the wind?!’, the ChertLüdde Bookstore has been transformed into a discursive space that will be activated by various engagements with the complex and layered histories, cultures, and political contexts of Kosovo and its neighbors.

Gaytore takes its cues from the çajtore, the Kosovo teahouse, and the oda, the traditional gathering room of rural Kosovo Albanian homes—spaces not easily translated, staged, or reimagined.

Take a seat, sip a cup of çaj, play the defat. Browse a library curated by Hana Ćurak (@hana.curak & @svesutovjeshtice ) where historical and political references sit alongside writings on birds and poultry, or join one of the public events held throughout the exhibition, bringing together scholars, researchers, artists, and curious interlocutors.

While we look forward to inviting you to our next events at Gaytore, please enjoy some recordings from our May 1st event for the opening on the show. Organized by Marrja Zezë @marrjazeze & Jehona Jahaj @nanajoteneberlin, the Gaytore hosted performances by ARBËRESHË @i.am.arbereshe, Dardan Hoti @dardanhotii, Urim Hiseni @urimitupanxhi, @zgjimzyba, food by @malesori_berlin and more lovely contributors. Thank you for celebrating the opening with us through such artistic, collective and meaningful contributions. 🌹

If you haven’t come yet for a çaj, the gallery will be open for @galleryweekendberlin until 6pm today and then again for our regular open hours.

Now on view at ChertLüdde:
Robert Rehfeldt
'Mail Message from My Studio'

Robert Rehfeldt (1931, Stargard – 1993, Berlin) was one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

The exhibition gathers works from the Robert Rehfeldt Estate, Berlin; the @rehfeldt_mailartarchive, Berlin; the ifa Art Collection, Stuttgart and the Collection of Lutz Wohlrab, Berlin. This exhibition is presented in relation to the exhibition series Making Public: The Work and Legacy of the GDR's Centre for Art Exhibitions. @ifa.de

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

Images: Installation view of ChertLüdde, Berlin, 2026, Photo by Marjorie Brunet Plaza

Now on view at ChertLüdde:
Robert Rehfeldt
'Mail Message from My Studio'

Robert Rehfeldt (1931, Stargard – 1993, Berlin) was one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

The exhibition gathers works from the Robert Rehfeldt Estate, Berlin; the @rehfeldt_mailartarchive, Berlin; the ifa Art Collection, Stuttgart and the Collection of Lutz Wohlrab, Berlin. This exhibition is presented in relation to the exhibition series Making Public: The Work and Legacy of the GDR's Centre for Art Exhibitions. @ifa.de

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

Images: Installation view of ChertLüdde, Berlin, 2026, Photo by Marjorie Brunet Plaza

Now on view at ChertLüdde:
Robert Rehfeldt
'Mail Message from My Studio'

Robert Rehfeldt (1931, Stargard – 1993, Berlin) was one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

The exhibition gathers works from the Robert Rehfeldt Estate, Berlin; the @rehfeldt_mailartarchive, Berlin; the ifa Art Collection, Stuttgart and the Collection of Lutz Wohlrab, Berlin. This exhibition is presented in relation to the exhibition series Making Public: The Work and Legacy of the GDR's Centre for Art Exhibitions. @ifa.de

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

Images: Installation view of ChertLüdde, Berlin, 2026, Photo by Marjorie Brunet Plaza

Now on view at ChertLüdde:
Robert Rehfeldt
'Mail Message from My Studio'

Robert Rehfeldt (1931, Stargard – 1993, Berlin) was one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

The exhibition gathers works from the Robert Rehfeldt Estate, Berlin; the @rehfeldt_mailartarchive, Berlin; the ifa Art Collection, Stuttgart and the Collection of Lutz Wohlrab, Berlin. This exhibition is presented in relation to the exhibition series Making Public: The Work and Legacy of the GDR's Centre for Art Exhibitions. @ifa.de

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

Images: Installation view of ChertLüdde, Berlin, 2026, Photo by Marjorie Brunet Plaza

Now on view at ChertLüdde:
Robert Rehfeldt
'Mail Message from My Studio'

Robert Rehfeldt (1931, Stargard – 1993, Berlin) was one of the most internationally connected artists working in the GDR. From the early 1970s until his death, he built an expansive network through Mail Art, corresponding with hundreds of artists worldwide. This work is reflected in the exhibition through his collaborations with Brazilian artist Horacio Zabala (b. 1943, Buenos Aires).

Alongside these mail art actions, Rehfeldt maintained a dynamic studio practice, combining diverse techniques across painting and mixed media. The exhibition brings these two facets of his work into dialogue, offering new insight through an accompanying academic text by Christopher Williams-Wynn.

The exhibition gathers works from the Robert Rehfeldt Estate, Berlin; the @rehfeldt_mailartarchive, Berlin; the ifa Art Collection, Stuttgart and the Collection of Lutz Wohlrab, Berlin. This exhibition is presented in relation to the exhibition series Making Public: The Work and Legacy of the GDR's Centre for Art Exhibitions. @ifa.de

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

Images: Installation view of ChertLüdde, Berlin, 2026, Photo by Marjorie Brunet Plaza

ChertLüdde is pleased to present 'Who does the earth belong to while painting the wind?!', a solo exhibition by Petrit Halilaj (@xixellojme).

This exhibition emerges from over fifteen years of collaboration between the artist and the gallery, and unfolds in parallel with Halilaj’s largest institutional presentation in Germany, An Opera out of Time, at @hamburger_bahnhof.

Shortly before the premiere of his first opera last year, two of Halilaj’s storage containers in the Kosovo countryside were broken into, defaced with hate speech and Serbian nationalist symbols, and set on fire. While his Hamburger Bahnhof’s presentation mentions this incident in the exhibition catalogue, at ChertLüdde the focus shifts precisely on the vandalized containers, presented publicly for the first time alongside a series of new sculptures.

For the occasion, Halilaj also transforms @chertluedde_books into a public tea house hosting a series of live events, so come have a çaj!

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

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

ChertLüdde is pleased to present 'Who does the earth belong to while painting the wind?!', a solo exhibition by Petrit Halilaj (@xixellojme).

This exhibition emerges from over fifteen years of collaboration between the artist and the gallery, and unfolds in parallel with Halilaj’s largest institutional presentation in Germany, An Opera out of Time, at @hamburger_bahnhof.

Shortly before the premiere of his first opera last year, two of Halilaj’s storage containers in the Kosovo countryside were broken into, defaced with hate speech and Serbian nationalist symbols, and set on fire. While his Hamburger Bahnhof’s presentation mentions this incident in the exhibition catalogue, at ChertLüdde the focus shifts precisely on the vandalized containers, presented publicly for the first time alongside a series of new sculptures.

For the occasion, Halilaj also transforms @chertluedde_books into a public tea house hosting a series of live events, so come have a çaj!

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

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

ChertLüdde is pleased to present 'Who does the earth belong to while painting the wind?!', a solo exhibition by Petrit Halilaj (@xixellojme).

This exhibition emerges from over fifteen years of collaboration between the artist and the gallery, and unfolds in parallel with Halilaj’s largest institutional presentation in Germany, An Opera out of Time, at @hamburger_bahnhof.

Shortly before the premiere of his first opera last year, two of Halilaj’s storage containers in the Kosovo countryside were broken into, defaced with hate speech and Serbian nationalist symbols, and set on fire. While his Hamburger Bahnhof’s presentation mentions this incident in the exhibition catalogue, at ChertLüdde the focus shifts precisely on the vandalized containers, presented publicly for the first time alongside a series of new sculptures.

For the occasion, Halilaj also transforms @chertluedde_books into a public tea house hosting a series of live events, so come have a çaj!

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

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

ChertLüdde is pleased to present 'Who does the earth belong to while painting the wind?!', a solo exhibition by Petrit Halilaj (@xixellojme).

This exhibition emerges from over fifteen years of collaboration between the artist and the gallery, and unfolds in parallel with Halilaj’s largest institutional presentation in Germany, An Opera out of Time, at @hamburger_bahnhof.

Shortly before the premiere of his first opera last year, two of Halilaj’s storage containers in the Kosovo countryside were broken into, defaced with hate speech and Serbian nationalist symbols, and set on fire. While his Hamburger Bahnhof’s presentation mentions this incident in the exhibition catalogue, at ChertLüdde the focus shifts precisely on the vandalized containers, presented publicly for the first time alongside a series of new sculptures.

For the occasion, Halilaj also transforms @chertluedde_books into a public tea house hosting a series of live events, so come have a çaj!

Special Opening Hours for @galleryweekendberlin:
Saturday, 2 May 2025 from 11 am – 6 pm
Sunday, 3 May 2025 from 11 am – 6 pm

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