reclame is a project space initiated by artist Lisa Sudhibhasilp that physically limits itself to a street advertisement board. Artists and designers are invited to react to this peculiar presentation context, the display conditions and the public of walkers-consumers. reclame is interested in practices that challenge the culture of advertisement and the notion of merchandise.


Eleni Papazoglou

Hole Hold Whole

21.10 – 31.10.2023

Tabakshuis Weesperplein, Sarphatistraat 65, Amsterdam

The Dunkin Donuts ‘Munchkins’ are small round bites of dough that come in all kinds of flavours. First sold as ‘Donut Holes’ in the 70s, they were marketed as left overs from the removed centres of the doughnuts. As a child, I believed this story to be true, an ingenious way to reduce food waste, and as it turns out, it was.
Some time ago, I stood in a store holding a broken piece of their display that I wanted to take home with me, wondering if to take it would be an act of stealing, or if it would be possible to buy something that is not for sale. Can we buy the bone before the meat? With Hole Hold Whole, we attempt to celebrate the valuable waste, the discarded matter and the donut holes, and we cherish this absent space where nothing becomes something in a store that appears to sell everything.

Eleni Papazoglou is a Greek artist working with languages of value and exchange. With a background in graphic design, she uses instruction-led processes, subversion, cut & paste methods to make assemblages, performances, site specific interventions and books. They are a co-founder of the nomadic project space On Wheels, a space dedicated to exploring what it means to be in public, and they practice graphic design under the alias Call Your Friends. Eleni is a lecturer at the London College of Communication, UAL.

Eleni received a BA (Hons) in Graphic Design from Camberwell College of Art and a MA (Hons) from the Royal College of Art. Previous exhibitions include Rear View (solo), BIBLIOTEKA (London, 2023), How It Feels, SET (London, 2023) ,Prizing Eccentric Talent, P.E.T. Projects (Athens, 2022), I Love You Forever, (Athens, 2022), Collective Display of Affection, Camden Arts Center (London, 2022), Head2Head, KEIV (Athens, 2021), Squeezebox, Collective Ending (London, 2021).

Tabakshuis is a corner shop that sells convenient products, cold drinks, cigarettes, newspapers and stationery items.
Many thanks to the owner Buick Ismaili for hosting us.
reclame #6 is kindly supported by the Amsterdams Fonds voor de Kunst.


Eva Pel

De grote vakantie


Harkstraat 13, Amsterdam

In the summer 2021, reclame presented De grote vakantie by Eva Pel in Buikslotermeerplein on the last days of the temporary lease of an artist studio. Soon after, the space turned into a Getir dark store. Pel’s work was an ode to the holidays while being a soft protest against the (in)visible forces of Amsterdam real estate. For the reiteration of the work, Pel chose Betondorp and specially a vacant house, made of concrete 100 years ago. The work is a celebration and once again pertinent for many reasons: reclame still up after resisting its first location’s eviction; the care given to the houses; the people who care; and us, cheering all together to the summer holidays.

reclame #2.1 will take place in the context of Coming Soon Together 1, organised by Eva H. Pel and Isfrid A. Siljehaug, together with Rory Pilgrim and Luuk Schröder. Meeting point: Middenweg 390 from 16:00, followed by a walk, a home and a borrel.

Eva Pel (NL) is an artist based in Amsterdam. With a background in artistic research and human geography with studies in Amsterdam, Los Angeles and The Hague her work points directly to the ‘here and now’, to the banalities and tensions of our society. She employs her interest in how social behaviour in the built environment is affected and changed by the everyday life, a life that is influenced by our shared space, digital and physical. Her work manifests itself in a range of media, such as video, photography and objects. Recently Pel had exhibitions in Toronto (Inter/access), Liège (Art au Centre) and The Hague (The Balcony). Last year she lived in the mountains of Switzerland during her artist residency period at Fundaziun Nairs in Scuol.



sim only

27.05 – 10.06.2023

Fone Up, Ceintuurbaan 298, Amsterdam

Black screens are enclosed in glass shelves, shiny without a scratch. Accessories for care, protective cases in plastic sleeves, urgent repairs to get back on call. A nursery for our precious devices that give us the love we need. Then come the people, their hands, their strange behaviours, the grotesque situations and sad coincidences captured by chance with a phone camera. These moments, framed by photography and reframed by the display, appear where the screens were once silent, bringing noise to the quiet shop. The offline space, where the digital is reduced to components and broken screens, presents a new feed of printed images, akin to analogue scrolling. Ordinary scenes transform into beautiful accidents, impossible to stage, becoming mirror images, a reminder of family portraits, both comforting us in our sense of belonging and causing anguish from that very same belonging.

Eefje Stenfert (1996, NL) is a multi-disciplinary artist based in Amsterdam using ‘42923703q’ as a pseudonym, equally being the name of a project in itself. 42923703q represents a large archive of imagery that aims to contemplate the beautiful absurdity of Stenfert’s everyday recordings. Using photographs and videos as her raw material, she crops, re-frames and makes collages, resulting in creating series, albums and stories by the new connections she suggests. 42923703q likes to re-enter the mundane by showing these series of images in spaces that stock-photos and other pretty-pictures occupy, be it on Instagram, websites, billboards, advertisement frames, shops and other spaces where images are involuntarily consumed.

Fone Up is a store that offers phone repair services, as well as sells refurbished cell phones and accessories. Many thanks to the owner Othman Jaalouti for hosting us.
reclame #5 is kindly supported by the Amsterdams Fonds voor de Kunst.


Marine Kaiser

The only thing that can affect magnetic inversion is bad news


De krul, Maastricht
Coordinates: 50.858322,5.689485

On the highway to hell, call a space a spade, especially when a sparrow in the hand is better than the pigeon on the roof. In French, one would say call a cat a cat, but what’s lost in translation is whispered down the lane. By trial and error, step-by-step and maybe on one’s toes, a word spoken cannot be recalled. Lest we forget, it’s hard to remember the swan song. Off the beaten path, we are waiting for the snail-mail and on the tip of my tongue, the sentence pulled a vanishing act. Disappeared into thin air, the name of the game becomes the bird of passage. And once gone, we come to the end of the road.

The circulation of people and commodities constitute the nodal point of a work questioning thresholds, limits, borders of spaces, ideas, values and practices. A hijacked city water circuit, a RoRo cargo ship transporting old European women, upgraded business cards, cucumber doors, a password, Belgian samosas, political discourses; Marine Kaiser’s tenuous installations play with exaggeration and contradiction to build fictions rooted in their specific contexts.
Graduated from HEAD Geneva and erg Brussels, Marine Kaiser (1992) is a Swiss-French artist based in Brussels and current resident of the Jan van Eyck Academie. Her work has lately been exhibited at Pavillon de l’Arsenal (Paris), AGB (Berlin), Manifesta 12 (Palermo), Le 18 (Marrakesh), Les Brasseurs (Liege), Palais de l’Athénée (Geneva), KANAL Centre Pompidou, Cunst-Link and CHEE (Brussels).

Marine Kaiser asked designer and screen printer Brent Dahl to not only print her work but also to freely design one sticker as an additional voice and perspective on this public object, which then took an unexpected detour. Text by Lisa Sudhibhasilp and Dutch translation by Roberta Petzoldt.




14.10 – 04.11.2021

Ten Katestraat 26, Amsterdam

With Kapsalon, AVOIDSTREET plays the field between fast food and slow culture — each one influencing the other. Much like sportswear entering high fashion, the iconic Rotterdam snack is on its way to becoming national heritage. AS navigates between traditions and values, shifting trivialities into trendy aesthetics. The Kapsalon uniform has to be worn for excessive dancing under artificial lights and running until the first beads of sweat give way to exhaustion.

AVOIDSTREET is a multi-disciplinary design practice that fuses fashion, graphic design, and performance in a rhizomatic way. AS focuses on showing the beauty of the banal and projecting ‘high-gloss luxury’ onto the everyday. Initiated by Eduardo León, Peruvian-Italian graphic designer and artist based in Amsterdam.

Snacks is a vending machine and exhibition space on the Ten Katemarkt in Amsterdam.
Thanks to Mariana Jurado Rico for playing music for the finissage.


Eva Pel

De grote vakantie


Buikslotermeerplein 261, Amsterdam

A while ago I decided to never ever again accept requests to exhibit in temporary vacant/anti-kraak art spaces. This is because, in my opinion, these spaces indirectly fuel gentrification. I can explain this later. But since I find reclame a sympathetic art initiative, Lisa a nice person, and even more after discovering some interesting information about the owner of this building, for the last time I said yes.

Eva Pel (NL 1973) is an artist living and working in Amsterdam. With a background in artistic research and geography her work shifts between political engagement and subtle mediation. She employs her interest in how social behaviour is affected and changed by our everyday life, a life that is influenced by our shared space, digital and physical. Her work manifests itself in a range of media, such as video, photography, objects and publications. Since 2013 Pel has been teaching art theory at the pre-course of the Gerrit Rietveld Academie in Amsterdam. Her work has been exhibited amongst others at Frankendaal Foundation (Amsterdam), Witzenhausen Gallery NY, the University of Amsterdam, van Eyck Academie and Salzamt Linz. Her work will be shown at This art fair 26-29 August 2021 at the Kromhouthallen in Amsterdam Noord.
Eva Pel is generously supported by the Mondriaan Fund.

A text was produced for the occasion, find it here.
Thanks to Lae Schäfer for the live drawings.
Images from Agnes Denes, Wheatfield — A Confrontation, Battery Park Landfill, Downtown Manhattan, 1982


Jungmyung Lee


19.06 – 04.07.2021

Buikslotermeerplein 261, Amsterdam

For the first reclame presentation, Jungmyung Lee proposes a visual translation of “hamstering”. This expression, originating from the German Hamsterkauf, found use as hamsteren in the Netherlands during WW1 and was eventually co opted by Albert Heijn as a marketing slogan. Most recently, the notion was revived during the lockdown due to the negative effects of individual stockpiling. For Lee, this panic buying starts with the visual abundance of promotional messages intended to lure consumers. As a result, her overloaded, and thus absurd collage, proves to be inefficient and furthermore becomes an anti-marketing strategy in and of itself.

Jungmyung Lee is a typographer from South Korea interested in the intersection of human emotions and typographic forms. She manifests that typefaces have other interests besides words and her primary focus is telling stories and exploring the life of typefaces and their emotions.


Lisa Sudhibhasilp

A window with an idea

10.04 – 08.05.2021

Buikslotermeerplein 261, Amsterdam

For the first display and as an introduction to the project, Sudhibhasilp proposes to contemplate the object itself. The blue colour represents a generic space of the empty, like a background standard. By displaying the board entirely empty and blue, the object gains a new presence in contrast to the usual invisibility of its structure.

Lisa Sudhibhasilp (1989, FR) has developed her work and research around the concept of display. Researching how commodities, artefacts or artworks are presented and which procedures are employed to give them value, she uses – and re-uses – certain structures and aesthetics to question the status and hierarchy of the object shown, blurring the line between objects that are seen as displays and displays that are seen as objects.