BUNGALOW is a space located in the basement of ChertLüdde dedicated to young contemporary artists. The aim of BUNGALOW is to provide further emphasis on the research-based aspect of the gallery program, by inviting a new generation of artists to develop a project specific to the space and context. BUNGALOW projects occur by invitation from the gallery.



Lorenza Longhi
Cosmopolitan Haze 
Curated by Francesco Tenaglia
Opening Sunday 6th December, 2020, 12:00 to 18:00
Until 30th January 2021

With your eyes shut, think of the cities, the apartments, all the rooms you’ve ever visited. Perspectives start to emerge, like texts on the billboards and shop fronts. Geometries feel clear, but you have to focus to grasp details as they unfold into a somehow familiar composition. Now stop before the city, apartment or room acquires its final appearance, when things are still interchangeable to a certain degree. 

Lorenza Longhi uses various techniques, which she masters, explores, or sometimes reverse-engineers, to produce works that flirt with industrial products, or rather with the ideas of “durability” and “efficiency” through which they find their way into our lives. Sometimes common objects, saved from the obsolescence to which some thrift store shelf condemned them, get involved, whether by camouflaging themselves or by retaining their unadulterated shapes yet getting caught in art’s alchemical transmutation (in Michael Thompson’s phrasing, one of those rare status climbs from “rubbish” to “durable goods”).1

(We understand, now, that the composition is made of promises: adequacy, gloss, and a frozen moment.)

In Longhi’s solo shows, the individual works are usually in the service of a meticulously choreographed holistic environment. They are condensed into measures, proportions, consonances, connections that entice us to discover new points of view, or to imagine more correct ones.

It is perhaps no coincidence that after our first site inspection at ChertLüdde, the artist and I went to see Aldo Rossi’s Quartier Schützenstraße—a formative entity for Longhi, although not a direct influence. It is a set of facades and courtyards that playfully interlock design with different colors and materials, tracing lines between the city, other cities in other countries, and art histories.

“I remember the first time I visited Berlin, in 2014. I was brought to observe this Aldo Rossi building. I didn’t know Aldo Rossi. I didn’t know the Palazzo Farnese, which the building is partly based on. I didn’t like the building that much. Yet its mechanism sat forever in my mind, and in 2020, when I went to see it again, things came full circle. As Louise Lawler said in that interview for Grey Room: Something is what you expect, but then not quite, so where does that leave you?” Lorenza later wrote me. 

Text by Francesco Tenaglia.


1. Michael Thompson, Rubbish Theory: The Creation and Destruction of Value (Oxford: Oxford University Press, 1979).


Lorenza Longhi (b. 1991, Lecco) lives and works in Zürich. Longhi was the artist-in-residence at Sitterwerk Foundation, St. Gallen 2019 and was awarded the Shizuko Yoshikawa Advanced Award for Young Women Artists 2020 and shortlisted at the Kiefer Hablitzel | Gohner Art Prize 2019. She is one of the finalists for the Swiss Emerging Artists Prize 2020.

Lorenza Longhi addresses and contests the everyday as a set of standard functional rules, codes, and forms of signification. In her practice, visual elements taken from communication strategies and objects that have a specific role within our contemporaneity are reproduced and remixed together, using laborious craft techniques as a way to complicate their primary forms, empirically test and question their assumed neutrality. Her recent solo exhibitions include:  Visual Hell, New Location, Fanta-MLN, Milan, I, 2019; You’re In Business? I’m In Business, Plymouth Rock, Zürich, 2019; (+33) 7. 85. 92. 83. 67, La Plage, Paris, FR, 2019;  Today Is Not That Great, Fanta-MLN, Milan, 2017. Her works have been included in group exhibitons at: Kunsthalle Zürich, Zürich 2020; Quadirennale di Roma, Rome 2020; Villa Vassilieff, Paris 2020; Milieu, Bern 2020, Kunst Halle St. Gallen, St. Gallen 2019; Museum Im Bellpark, Kriens 2019; Fondazione Sandretto Re Rebaudengo, Turin 2019; Armada, Milan 2016. 

All images: Andrea Rossetti 



Josephine Baker
The Land Lies
Opening Reception 4th September 2020
Until 31st October 2020

Josephine Baker, The land lies, (detail), Courtesy the Artist.


The Land Lies is a newly conceived installation by Josephine Baker for BUNGALOW at ChertLüdde, on the occasion of Gallery Weekend Berlin.

Using readily-available building and landscaping materials, Baker composes physical metaphors for how the natural earth is represented in a capitalocentric world. Factory standardised and processed almost beyond recognition, Baker forms these materials into signifiers of the complex distancing of ‘nature’ from ‘culture’ in today’s markets and urban topographies. She relates this process directly to the conflation of natural and manmade catastrophe in its increasingly frequent manifestations across the globe. In invented languages of reconciliation, different materials and forms allegorise events to each other. They create microclimates of dependency and exchange, telling stories of labour and survival which unearth the histories of what (and where) their sources are, and the processes they have undergone.

Baker’s installation at ChertLüdde BUNGALOW is motivated by isolationism in the many senses of the word: political, social, and geographical. The gallery is now under construction, formed into a hybrid landscape by works made of tiling, cement, plywood, bitumen roofing, and glass. But none of these materials appear to fulfil their usual roles: Forms resembling waves of water, upon second glance, turn out to be anticlimb spikes. A tile relief clings to one side of the room, reminiscent of both broken walls and cliff faces, teetering over tile rocks and a mortar shore. Overlooking the sea, a circular ring of artificial grass pierced with stakes becomes a beaming sun. The tiles hold drawings from chalk collected from the White Cliffs of Dover in southernmost England, directly above the Dover-Calais crossing to and from the rest of Europe. Illuminating this relief, a crane-like structure made almost entirely from wood occupies the centre of the gallery. Its canopy of perforated roofing branches, reaching toward the only source of natural light in the space, fan out as if offering protection from a habitat otherwise fuelled by precarious growth. Yet a pulley system that resembles an oil rig or construction machinery seems to hint at the structure’s more insidious nature, one that itself consumes and destroys in order to build.

Through this thicket of contradictions, the show’s title, The Land Lies, addresses the conflict latent in symbolism itself, where the direct topographical ‘lay of the land’ is indistinguishable from the geopolitics of nationhood grafted onto it: the fraught combination of the way land is and the way it is not.


Josephine Baker (b. 1990, London) lives and works in London. She completed her postgraduate studies at the Royal Academy Schools, London. Selected solo and group exhibitions include: Wreck or ruin, V.O.
Curations, London, 2020; settle spessore, Progettoarte-Elm, Milan, 2019; Islands, Kupfer Project Space, London, 2019; Correction, Tintype summer window, London, 2019; The Book of Dreams, Chapel on the Green, Wales, 2019; Drawing Biennial, Drawing Room, London, 2019; Sheltering Sky, GAO, London, 2019; Flood-tide, Love Unlimited, Glasgow, 2018; Trout Steel, The Horse Hospital, London, 2018; Serpent and Shadow, Royal Academy of Arts, London, 2018; Night Music, British School at Rome, Rome, 2018; Terraforms, The Concept Space, London, 2018.

Josephine Baker, The Land Lies, 2020, Artificial grass, board, ceramic tiles, clay, (airdrying), Dover chalk, dowelling, glass, mortar, netting, pigments, pine, plaster, plywood, spraypaint, steel tubing, terracotta tiles, 118 × 357 × 16 cm
Josephine Baker, New growth, 2020, Anticlimb steel strips, asphalt roofing, clay, (airdrying), Dover chalk, dowelling, glass, mortar, netting, pigments, pine, plaster, plywood, security lights and cabling, spraypaint, steel cable with fixings and hooks, 249 × 194 × 114 cm
Josephine Baker, FFF (first floor flood), 2020, Clay (airdrying), glass, pigments, plaster, sealer, 12.75 × 112 × 4.75 cm

All Photos: Andrea Rossetti 


Boris Anje
A Mindset of Change
Opening reception: March 14th 2020 – 2pm – 7pm.
Until 31st May 2020

The three paintings in the exhibition depict subjects taking ‘selfies’ on their phones. A contemporary millennial phenomenon that encompasses the world, ‘selfie culture’ is the byproduct of global capitalism and technology on the individual within a society.

The paintings relate to a larger body of work that focuses on African subjects within portraiture in a way that is less about individual/private psyches than communal/external projections of selfhood. Identity, in these portraits, is differentiated by items of clothing, accessories and fashion trends.

Anje’s interest in the ubiquitousness of global consumerism broaches the notion of dependence in relation to identity. In his depiction of his community, with Internet symbols such as WhatsApp, Facebook, Google Chrome and Twitter in lieu of flesh, the problem of trading one’s identity for marketed products in a technocapitalist world is made apparent. While Anje’s subjects buy into systemized notions of acceptance and worth, what is being consumed by the other side takes place with as much voracity.

Boris Anje (born in 1993 in Bamenda, Cameroon). In 2015, he obtained a degree in drawing and painting at IBAF where he also graduated with a Master’s in 2018. He lives and works in Douala.

Boris Anje, “Eza Danger”, Acrylic on Canvas, 80 × 99 cm
Boris Anje, “Nous et vous”, Acrylic on canvas, 99 × 80 cm. All photos: Trevor Lloyd


Gillian Brett
In silico
Opening reception 16th September 2019, 6:00 – 9:00 pm
Until 16th November, 2019

Gillian Brett’s installation, In Silico, for BUNGALOW transforms the space into a phosphorescent eatery of the future where kebab meats, sausages and roasted chicken gleam in front of light boxes, revealing discarded technological devices suspended in resin, a toxic byproduct of petrol. In this sterile and brightly-lit environment reminiscent of a hospital or a laboratory, the notion of fast food is fused with “smart food” – the latest iteration within the Soylent trend. Deriving its name from the 1973 science fiction film Soylent Green, Soylent, the brand of meal replacement products launched in 2014, is the epitome of smart food, meant to optimize the basic function of eating to match the posthumanist goals of a rapidly progressing society. Forgoing the rituals of food-eating is the ultimate step towards capitalist efficiency, supporting the development of the superhuman, who is more productive than ever.

Gillian Brett was born in Paris in 1990. She lives and works in Marseille. The practice of Gillian Brett is dedicated to analyzing the delicate and complex relationship between the human being and technology, reflecting specifically on the ways and the processes by which it inevitably shapes and influences the surrounding world.

She graduated with a Master of Fine Arts at Villa Arson in Nice (France) and has a Postgraduate Diploma in Fine Art from Goldsmiths College, University of London (UK).

Group exhibitions include: Par Hasard, Friche de la Belle de Mai, Marseille; La Relève, Galerie des Grands Bains douches et Galerie HO, Marseille, 2019; Trà e stelle, Les Charpentiers de la Corse, Piedigriggio, 2018; Sense & Sensibilia, cur. Luigi Fassi & Chiara Nuzzi, Galeria Doris Ghetta, Ortisei, 2018; Machine in the middle, Windows 93, Romainville, 2018; Programme Inventeurs d’Aventures, curated by Gaël Charbau, PACA, 2017; Vienna Art Week – Open studio, Das Weisse Haus, Vienna, 2017; I Would Have Done Everything For You / Gimme more!, curated by Cedric Fauq, London, 2016; Prix Dauphine pour l’art contemporain, Université Paris-Dauphine, Paris, 2016.

Solo exhibitions include: ART-O-RAMA, booth C+N Canepaneri, Friche de la Belle de Mai, Marseille ; Due per due, C+N Canepaneri, cur. Chiara Nuzzi, Milan, 2019; Showroom Art-o-rama, cur. Stefano Collicelli Cagol, J1, Marseille, 2018; Quousque Tandem ? Exp. des lauréats du Prix Dauphine, Galerie du CROUS, Paris, 2016.

Installation view “In silico” All photos: Andrea Rossetti.


Juan Antonio Olivares
Vespula Vulgaris
Opening reception 26 April 2019, 6:00  – 9:00 pm
Until 15 June 2019

As part of Gallery Weekend Berlin 2019

Juan Antonio Olivares (b. 1988) presents Vespula Vulgaris, a 5-channel sound-sculpture for BUNGALOW. 

The strongest trees have endured against great odds, overcoming intense cold, gales and meager soil, growing despite a lack of nourishment. Plants battle against nature’s forces, and against each other. The weakest die. But their death allows other trees, plants, animals to grow. 

A tree has overtaken the space. 

I am filthy. I am riddled with lice. My skin is encrusted with the scabs and scales of leprosy, and covered with yellowish pus. I know neither the water of rivers nor the dew of clouds. Sitting in a shapeless piece of furniture, I have not moved my limbs now for four centuries. My feet have taken root in the ground. Up to my belly they form a sort of tenacious vegetation, full of parasites. This vegetation no longer has anything in common with other plants, nor is it flesh. And yet my heart beats. 

Problems tend to manifest themselves regardless of how much one attempts to avoid them. Hanging from the branches are abandoned wasp nests(1), in which surface transducers have been embedded so that the nests become vessels of sound. 

Imagining the tree as an extension of the human mind, the space has transformed into a site of the subconscious, a place of darkness where fragmentation and reconstruction occurs, where light must struggle to emerge. Eyes closed. You will go deeper, and deeper, and deeper. 

Feels good doesn’t it?

It sort of feels like going down an elevator.

Traveler, when you pass near by me, do not address the least word of consolation to me—I implore you. Go away…let me not inspire in you any act of piety. Hatred is stranger than you think; its action is inexplicable, like the broken appearance of a stick in water.


Juan Antonio Olivares (b. 1988) was born in Puerto Rico to Colombian/Chilean parents, and is currently based in New York. He received a BA in Visual Arts and Philosophy from Columbia University in 2011 and attended the Kunstakademie Düsseldorf with Prof. Christopher Williams from 2015-6. He recently had his first institutional solo show at the Whitney Museum of American Art, Moléculas, opening in March 2018. Other recent exhibitions include: I. Summer (after the Great Game) at Miguel Abreu Gallery, NYC; Moléculas at Off Vendome, NYC; Please Respond at M/L Artspace, Venice. His work is included in the permanent collections of the Whitney Museum of American Art, Adrastus, and Fondazione Sandretto Re Rebaudengo.

  1. The soul is without a gender, without a species: thus, in this funeral journey, am I human, am I animal, am I object, idea?

Installation Views: “Vespula Vulgares“, 2019, Naturally fallen tree, wasp nests, surface-transducers, multi-channel media player, mono-amps, speaker cable, 5-channel audio-file, light gels. Courtesy artist and ChertLüdde, Berlin. Video by Trevor Lloyd and photos by Andrea Rossetti.

Namsal Siedlecki
Opening reception 9 February 2019, 6:00 – 9:00 pm
Until 13 April 2019

Namsal Siedlecki (b. 1986, Greenfield, USA; lives and works in Seggiano, Italy) presents Gunbu, an exhibition featuring a new series of works inaugurating BUNGALOW, ChertLüdde’s small space dedicated to projects by young contemporary artists. 

On the walls, four sculptures in the shape of a head are displayed. These forms are made from a 3D scan of a sculpture from the first century, conserved at the University of Edinburgh. The found artwork represents the young prince Siddhārtha, realized in the Gandhāra style native to Peshawar, an area situated between Pakistan and Afghanistan. The Gandhāra style is the result of different artistic regional influences: Indian, Persian and Hellenistic. It was not by chance that it was initially called Greek-Buddhist art. This particular sculpture depicts the face of Siddhārtha with the standard face lineaments of Greek sculptures.

Each head was first made in wax before being coated with copper using an electroplating process. The heads were immersed in electroplating tanks for several days, creating multiple metal layers. The first layer completely covered the sculpture with a layer of copper, after which subsequent layers were created by lifting the head gradually out of the liquid, until the stratifications of the metal altered the original shape. 

Starting from a 3D reproduction of Siddhārtha’s original head, the shape has become forever modified through stratification. Similarly, layers of ideas and knowledge throughout the centuries have irreversibly affected humanity.

At the intersection of the gazes of the four sculptures, a copper stick descends from the ceiling, ending with four electrified copper sculptures. The form is in the shape of the Yartsa Gunbu, a mushroom that is highly sought after in China for its aphrodisiac qualities (also known as a natural ‘Himalayan Viagra’) and used in Chinese medicine for over 700 years. Yartsa Gunbu, meaning ‘summer grass, winter worm’ in Tibetan, is created when underground caterpillars become infected by a parasitic fungus, Ophiocordyceps sinensis. The fungus mummifies the caterpillar, the remains of which then pushes up and pops out of the ground in the spring. The Yartsa Gunbu is worth more than its weight in gold.

Human evolution over the centuries has been driven by the will to learn, generational knowledge accumulated over time. This continuous process of learning has allowed humanity to understand how to exploit for its benefit pre-existing elements in nature. Through a small electrical discharge, the Yartsa Gunbu become custodians of a seemingly nonexistent force, which can be revealed only through a conscious and respectful gaze.

Namsal Siedlecki (Greenfield, USA 1986), lives and works in Seggiano, Italy. In 2015 he won the fourth edition of the Moroso Award and he is a Cy Twombly Italian Affiliated Fellow in Visual Arts at the American Academy in Rome. His works was recently exhibited in venues such as: 6th Moscow International Biennale for Young Art, Moscow; Frankfurt am Main, Berlin; Galeria Boavista, Lisbon,; Villa Romana, Florence; Fondazione Sandretto Re Rebaudengo, Turin; Centro per l’Arte Contemporanea Luigi Pecci, Prato; American Academy in Rome, Rome; Villa Medici, Rome; Fondazione Bevilacqua la Masa, Venice; Moscow International Biennale for Young Art, Moscow; Antinori Art Project, Bargino; Galleria Magazzino, Rome; Galeria Madragoa, Lisbon; Frankfurt am Main, Berlin; Very Project Space, Berlin; Galleria Acappella, Naples; Cripta747, Turin.


Installation view “Gunbu” All photos: Trevor Lloyd


“Gandhāra (I)”, 2019 electroplated copper, 7 layers, 200 hours immersed in electroplating tank 27 × 16 × 17 cm


“Gandhāra (I)”, 2019 electroplated copper, 7 layers, 200 hours immersed in electroplating tank 27 × 16 × 17 cm


“Gandhāra (I)”, 2019 electroplated copper, 7 layers, 200 hours immersed in electroplating tank 27 × 16 × 17 cm


“Gandhāra (II)”, 2019 electroplated copper, 8 layers, 250 hours immersed in electroplating tank 27 × 16 × 17 cm


“Gandhāra (III)”, 2019 electroplated copper, 8 layers, 250 hours immersed in electroplating tank 27 × 16 × 17 cm


“Gunbu”, 2019 copper, silver, cast of Himalayan Yartsa Gungu mushroom 100 × 7 × 10 cm


“Gandhāra (IV)”, 2019 electroplated copper, 8 layers, 250 hours immersed in electroplating tank 27 × 16 × 17 cm