chapter_²/ Kite #3

ANARCHIVE/ 103 posters/ 2023–2013

01 Sept 2023, 4 – 7 pm

02 Sept – 31 Oct 2023

Musée des Chemises 

02 Jun 2023, 4 – 7 pm

03 Jun – 30 Sep 2023



ANARCHIVE/ 103 posters/ 2023–2013

LRRH_BPJ/ ANARCHIVE is published as an edition of 35 unisex t-shirts on a transparent fabric and presented during DC Open 2023 at LRRH_AERIAL.

On the occasion of the show by the same name as part of the IM FOYER series at Kunsthalle Düsseldorf (24.6.–17.9.2023), the exhibition and LRRH_ ART EDITION BY is accompanied by a book published by Sorry Press ANARCHIVE by Béla Pablo Janssen, 236 pages, including a holistic poster of all motifs and introduced by Alicia Holthausen and Gregor Jansen.

The ANARCHIVE series comprises 103 posters, which Béla Pablo Janssen has collected between 2013 and 2023. BPJ sprays over the posters uniformly: The text part is blotted out with coloured, white, or black spray paint that matches the colour of the original text, creating “clouds” or “bars” on each poster where the information about the exhibitions was once legible.


In the colour-congruent overspraying, a new pictorial interweaving of background and blotted-out text information is created. The viewer lacks the essential information. Deprived of this, BPJ presents them as purely visual, aesthetic remnants.

The artworks are labeled with a sequential number, accompanied by the exhibition’s title and venue to which they are associated. The series itself bears the name ANARCHIVE, intertwining the concepts of organization and accumulation found within traditional archives, while engaging with the political state of lawlessness and absence of authority. At this intersection rises a fresh framework — an innovative archive — that thrives on subverting and infiltrating the existing order.


Musée des Chemises

curated by Birgit Laskowski

Installations by Alexandra Hopf generate a feeling of dejà vu. This also applies to Musée des Chemises that – not just coincidentally – recalls Marcel Broodthaers’ mise-en-scènes. A lettering of the exhibition’s title and a painted monochrome surface with irregular outlines embellish the wall. Lined with potted palm trees a folding-screen, made of grained wood panels, cuts across the room. The panels display transparent reverse glass paintings, which visualize a cycle of disembodied images. They in turn bear likenesses, mounted on the panels like film sequences. The beginning was the original of a drawing by Pieter Bruegel the Elder. Broodthaers, also a master of reference, captured the drawings in a 1964 film essay entitled Bruegel et Goya, journalistes. The stills from this film reproduced in his publication Cinéma served as templates for Alexandra Hopf´s reproductions on glass. The respective interpretations through the ages overlap and create something original again.

The referential setting of Alexandra Hopf’s parade and imaginative (visual) seducement on the top floor of LRRH_ Aerial is the basement room at Burgplatz 12 in Düsseldorf. At this location Broodthaers installed the Cinéma section of his famous Musée d’Art Moderne, Département des Aigles between January 1971 and October 1972.

The immaterial shirts from Musée des Chemises materialize in the CUBE of LRRH_AERIAL as Chemise en scène. The dissolution of the boundaries between artworks, everyday objects and the world of goods is another playful reference to Broodthaers: The fabric pattern of the Unisex-edition by Alexandra Hopf refers directly to a shirt that Marcel Broodthaers wore in a 1971 Spiegel advertisement for van Laack. Blatantly ambigious and with ironic recourse – very Broodthaers brand – Alexandra Hopf creates a wearable manifesto for questioning pictures in principle: Ceci n´est pas un Broodthaers!

Paulina Hoffmann "Protektion 2"

FRZNTE x Starstyling

02 June 2023, 5 pm



Video_ Hugo Holger Schneider

FRZNTE is an East Berlin-born dj, pole performer and cultural producer. She has worked with Transmoderna and Peaches, among others, and occasionally tours with Apex Anima. In her pole performances she combines performative, choreographic and sculptural elements, often referring to the architectural context.
FRZNTE would like to be announced with this quote from Audre Lorde’s The Use of Eroticism: Eroticism as Power: “Recognizing the power of the erotic within our lives can give us the energy to pursue genuine change within our world, rather than merely settling for a shift of characters in the same weary drama. For not only do we touch our most profoundly creative source, but we do that which is female and self-affirming in the face of a racist, patriarchal, and anti-erotic society.”


Béla Pablo Janssen, Rosemarie Trockel, Alexandra Hopf, Andreas Gefeller, Tjorg Douglas Beer & Alexandra Bircken