Exhibition booklet (PDF)

“I put work into the world for two reasons: first, because I feel compelled to; and second, as an act of communication. I have done work in which I myself am the target of communication, where there is something I can only clarify to myself by putting it outside my mind, out in the world with its own material boundaries. But the temptation is always there to take that process of self-inquiry a step further: Now that I have gotten clear about that idea or image or thing that was in my mind, what will be its relation to other minds? Will it clarify something for them, too? Will they experience it as I do, or in a completely different way? This is part of how I discover who I am, simultaneously with my discovery of who others are: the work enables us to find out what we have in common and what differentiates us from one another, through our similar or dissimilar responses to it. At this point, every work is nothing without the visitors who view it. Any work that exists in its own space implicitly invites us all into a shared space in which we experience it.” 

Adrian Piper in conversation with Christophe Cherix, 2017 (Published in Adrian Piper: A Synthesis of Intuitions, 1965-2016 (The Museum of Modern Art, New York, 2017))

For more than five decades, Adrian Piper has held a unique place in both the world of contemporary art and academia as an artist and analytical philosopher. Like hardly any other figure of our time, she has expanded the spectrum of conceptual art and minimalism as a tool for self-examination and social critique, thus significantly influencing successive generations. Throughout her career, Piper has explored a wide range of media, including collage, drawing, installation, performance, photography, sound, and video. Rather than relying on predetermined interpretations, her practice creates spaces in which viewers are confronted with their own assumptions and prejudices, thereby calling for social, personal, and collective transformations.

For her exhibition Who, Me? at Portikus, the artist has conceived two new site-specific works that draw on her ongoing exploration of the conditions of self-awareness. In the main gallery, I’m the Tree (2024) transforms the space into a sculptural installation. Responding to the architecture of the building, which usually allows for an immediate interaction with the artworks on display, Piper deliberately altered the access to the space by creating a wall that obstructs both passage and view. Only upon ascending the stairs leading to the mezzanine will the visitors be able to see a suspended dead tree held by steel wire anchored to the four top and bottom corners of the gallery and hovering above a floor entirely clad in mirrors. A walkway that extends the mezzanine around the periphery of the room (including a small ascending and descending stairway at one corner to surmount an immovable architectural barrier) , elevated four meters above the ground, allows viewers to move around the installation and observe the interplay between the reflection of the tree, the gallery’s architecture, and themselves. Instead of defining the layered meanings of the work, which Piper admits sometimes take years to fully understand, it is the title—as so often—that points to the concern at hand: the question of the self. 

This is further brought to light in I’m the Screen (2024), presented in the downstairs gallery, where the entire wall surfaces have been covered in mirror panels. The installation consists of four rows of five backed chairs, facing both a screen on which an empty white square of light is projected and a podium equipped with a reading lamp. With no speaker at the podium and no slides to view, we are met with the confluence of our mirrored image, the elements arranged in space, and the reflection of the Main River, whose flowing waters seem to enter through the windows. Much like the intentionally unresolved state of suspense in I’m the Tree, Piper invites viewers to ponder their own presence within the intricate layers that shape our experiences of self, others, and the here and now.

Building on previous pieces by the artist, in which she addresses or directly engages viewers, our reactions become integral to the experience of her exhibition at Portikus. According to philosopher Immanuel Kant’s Critique of Pure Reason (1781), a work central to Piper’s artistic as well as scholarly practice, the self is a transcendental condition that we can’t observe or know in the same way as an object. Instead, it functions as a precondition for experience itself, a unifying force that enables us to connect various representations into a subjective grasp of reality. In Who, Me?, the mirrored environments do not reveal an ‘objectified’ self; rather, the installations encourage a deeper reflection on the relationship between self-cognition and external conditions. The title of the exhibition plays on the familiar expression often used to feign innocence or deflect blame, prompting viewers to confront their own role and responsibility in issues from which they might seek to distance themselves.

Adrian Piper (b. 1948 in New York City, USA) is an artist and philosopher who has been living in Berlin, Germany, since 2005. Piper graduated from the School of Visual Arts, New York, in 1969. Her studies in philosophy took place at the City College of New York and at Harvard University, where she received an M.A. in 1977 and a Ph.D. in 1981 under the supervision of John Rawls. Piper taught philosophy at the universities of Georgetown, Harvard, Michigan, Stanford, and UC San Diego. Recent solo museum exhibitions took place at PAC Padiglione d’Arte Contemporanea, Milan (2024), MoMA, New York (2018), Hammer Museum, Los Angeles (2018), Hamburger Bahnhof, Berlin (2017), CPH Kunsthal, Copenhagen (2006), and MACBA Barcelona (2004). Piper has received numerous prizes for her oeuvre, including the Golden Lion at the Venice Biennale (2015), the Käthe Kollwitz Prize from the Berlin Academy of Arts (2018), and the Goslar Kaiserring (2021). 

Curated by Liberty Adrien & Carina Bukuts

The exhibition is funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation). Funded by the Beauftragte der Bundesregierung für Kultur und Medien (Federal Government Commissioner for Culture and the Media). Further support is provided by Kulturfonds Frankfurt RheinMain, Hessisches Ministerium für Wissenschaft, Forschung, Kunst und Kultur, Frauenreferat of the City of Frankfurt am Main and Eva Leinemann Kunststiftung.

Access to the Exhibition for People with Limited Mobility
Access to the exhibition is via an elevated area with stairs and is unfortunately not barrier-free. For visitors with limited mobility, please contact us ahead of your visit at info@portikus.de. We are happy to assist you.

Poster design: Parallel Work / Akoua Smith