Thinking of You. I Mean Me. I Mean You.
Book cover for Barbara Kruger: Thinking of You, I Mean Me, I Mean You by Peter Eleey (et al.), 2021.
‘I try to make work about how we are to one another, and that means how we respect one another, how we detest one another, our adorations, our contempt, the centuries of worship and subjugation, of brutality and kindness.’ – Barbara Kruger
Barbara Kruger’s name is synonymous with feminism, power, sexuality, identity, and consumerism in the contemporary art sphere. Thinking of You. I Mean Me. I Mean You. was on view for the first time at the Art Institute of Chicago in 2021 and 2022 before finally making its way to London, marking Kruger’s first solo exhibition in the city in over two decades. The exhibition opened on February 1st and will run until March 17th, 2024. What distinguishes this exhibition from previous ones, and what insights does Kruger offer into modern society?
Barbara Kruger, “Untitled (Our Leader)”, 1987/2020, Single-channel video on LED panel, sound, 24 sec. 350.1 × 200.1 cm 137 7/8 × 78 3/4 inches. Courtesy the artist and Sprüth Magers
Known for her distinctive style, Kruger provides commentary by directly engaging viewers with single-word statements or short phrases, always presented in sans-serif fonts against bold backgrounds. Her use of visual language, reminiscent of headlines, creates a sense of urgency, often with white text on bright red or black backgrounds. However, this exhibition is not a retrospective. While Kruger’s work is iconic, she frequently revisits previous pieces, reusing words, phrases, or images and transforming them into different mediums, contexts, or scales. Through these “reconstructions,” she delves into the power of language and imagery, continuing her exploration of how culture and meaning are constructed. Kruger has reimagined the retrospective itself by reinterpreting, remaking, and re-presenting her work over the decades to reflect the ever-evolving present. The exhibition showcases some of her most iconic pieces alongside unique installations covering the gallery’s walls and floor, moving image works, and various soundscapes. Many of these works have never been exhibited outside of the US, and in several cases, Kruger has adapted them specifically for this exhibition.
Barbara Kruger, Untitled (Your body is a battleground), 1989/2019.
Spanning across five rooms, the exhibition showcases a total of 12 works, blending both old and new pieces, complemented by sound installations throughout the venue. Upon entering, visitors are greeted and instructed on how to move throughout the exhibition. Notable highlights include renowned works such as Untitled (I shop therefore I am), 1987/2019, and Untitled (Your body is a battleground), 1989/2019, and Untitled (Admit nothing/Blame everyone/Be bitter), 1987/2020, now recreated as a single-channel video on an LED panel with accompanying sound. In addition, the exhibition marks the UK premiere of Untitled (No Comment), 2020, a three-channel immersive video installation. This captivating piece incorporates compiled found footage and snippets from social media platforms, interspersed with thought-provoking questions, statements, and quotes by French philosopher Voltaire and American rapper Kendrick Lamar. Beyond the gallery space, the exhibition extends its reach with additional works by Kruger featured outside. Just outside the gallery and across Hyde Park, traditional taxi cabs covered with Kruger’s art are used as advertisements for the exhibition.
Barbara Kruger, Untitled (Forever), 2017.
Kruger directly addresses the viewer, whether through her exhibited works or the audio permeating the gallery, much of which features her own voice. This approach draws the audience into the artwork, revealing power dynamics not only between the artist and viewer but also reflecting on control over body, identity, and consumer culture, a common feature in her art. Consequently, the exhibition evokes an intimate dialogue with the artist, akin to delving into her inner thoughts. The title of the exhibition, Thinking of You. I Mean Me. I Mean You., encapsulates Kruger’s refined stylistic approach while encapsulating the post-modernist zeitgeist of contemporary society. The intentional crossing out of words suggests thoughts in flux, undergoing continual editing and evolution, adding layers to the exhibition’s conceptual depth.
Barbara Kruger, Untitled (Taxis), 2024. Photo by George Darrell.
The London art scene has long been an epicenter for the emergence of European art movements, offering a glimpse into the continent’s socio-cultural trajectory. Kruger’s return to London's exhibition spaces, notably the Serpentine Gallery, prompts reflection on the enduring relevance of her works, many of which date back to the mid-20th century. Their continued resonance suggests a disheartening reality: little has changed since Kruger first critiqued political and social systems. Consumerism and materialism (and more) still hold sway in the West, echoing the themes she challenged decades ago. The Serpentine Gallery’s decision to present Kruger’s recognizable works as video installations serves to “refresh” her oeuvre, underscoring the enduring creativity of her decades-long career. This approach invites viewers to contemplate the social (in)stability that renders her old collages as relevant today as they were twenty years ago.
A woman walks past Kruger’s Untitled (Our people are better than your people) at the Serpentine. Getty Images.
In an interview with Serpentine artistic director Hans Ulrich Obrist, Kruger articulates her artistic mission, centered on exploring human interactions encompassing respect, disdain, adoration, and contempt. She rejects the notion of shock, insisting that given humanity’s history of cruelty and kindness, nothing should surprise us anymore. Kruger’s commentary highlights the enduring relevance of her work in confronting uncomfortable truths about our shared past and present.
