{"id":756959,"date":"2025-11-12T14:05:30","date_gmt":"2025-11-12T13:05:30","guid":{"rendered":"https:\/\/numero.com\/?p=756959"},"modified":"2025-11-12T14:07:42","modified_gmt":"2025-11-12T13:07:42","slug":"minimal-at-the-bourse-de-commerce-behind-the-scenes-of-a-landmark-exhibition","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/art-design\/numero-art-en\/minimal-at-the-bourse-de-commerce-behind-the-scenes-of-a-landmark-exhibition\/","title":{"rendered":"Minimal at the Bourse de Commerce: Behind the scenes of a landmark exhibition"},"content":{"rendered":"\n
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Dan Flavin, \u201cmonument\u201d for V. Tatlin<\/em> (1964). Cool white fluorescent light. 305 \u00d7 70 \u00d7 11.5 cm. Pinault Collection \u00a9 Stephen Flavin \/ Adagp, Paris, 2025. Photo: Jean-Fran\u00e7ois Molliere.<\/p>\r\n\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/div>\r\n<\/article><\/figcaption><\/figure>\n\n\n\n

Interview with Jessica Morgan, curator of the exhibition “Minimal” at the Bourse de Commerce<\/h2>\n\n\n

James Meyer:\u00a0You\u2019ve organized your exhibition in seven categories: \u201cLight,\u201d \u201cMono-ha,\u201d \u201cGrid,\u201d \u201cMonochrome,\u201d \u201cBalance,\u201d \u201cSurface,\u201d and \u201cMaterialism.\u201d How did you come up with these themes?<\/strong>
Jessica Morgan:<\/strong> Well, fundamentally, the exhibition did not start from an art-historical premise but from a very personal private collection, that of Fran\u00e7ois Pinault<\/strong>. Therefore, it was clear to me from the beginning that there could be no strict chronology, because in order to really show the collection, we would be moving outside of specific moments in time or specific geographies.<\/p>\n\n\n

This was never going to be a capital-M Minimalism show, because the collection really expanded in other directions, including Mono-ha. So then we started thinking about what the characteristics of the work were at that time across geographies and how we could articulate these, I hope, meaningful categories, which would neither reduce the works themselves nor the artists, but rather represent questions that were indeed interrogated as shared concerns in Japan, Brazil, Paris, New York, or wherever.<\/p>\n\n\n\n

“This was never going to be a capital-M Minimalism show, because the collection really expanded in other directions, including Mono-ha<\/em>.” \u2013 Jessica Morgan<\/h3><\/h2>\n\n\n\n
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View of the exhibition \u201cMinimal\u201d, Bourse de commerce \u2013 Pinault Collection, Paris, 2025. \u00a9 Tadao Ando Architect & Associates, Niney and Marca Architectes, Pierre-Antoine Gatier agency. Photo: Nicolas Brasseur \/ Pinault Collection.<\/figcaption><\/figure>\n\n\n\n
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You\u2019ve just said this couldn\u2019t be a Minimalist show per se, and in fact many of the works displayed can and have been described as \u201cpost-Minimalist,\u201d an open-ended term coined by the critic Robert Pincus-Witten in the late 60s to describe a set of formal possibilities opened up by Minimalist practice. Many works in the show share some of the concerns of historical Minimalism: an interest in \u201creduction,\u201d purging the unnecessary; the particular qualities of materials exploited and revealed; geometric shape; somatic scale (sizing the work to a viewer\u2019s body).<\/strong><\/p><\/p>\n\n\n\n

In your catalogue text you speak about a rejection of the strict \u201cCalvinism\u201d of Minimalist aesthetics. That made me chuckle. The notion of a \u201cminimal\u201d art came about to describe the three-dimensional work of Robert Morris, Donald Judd, Dan Flavin, Carl Andre, Anne Truitt, and Sol LeWitt, among others. It then came to be applied to the painting of figures like Frank Stella, Brice Marden, Jo Baer, and Agnes Martin. Eventually it came to mean all kinds of things: the serial tendency in music (Steve Reich, Philip Glass); a type of fiction (Raymond Carver, Ann Beattie); and, by the 1990s, a kind of high-end interior design (John Pawson).<\/strong><\/p><\/p>\n\n\n\n

“This word \u201cminimal\u201d was in essence a way, hopefully, of having some resonance now.<\/em>\u201d – Jessica Morgan<\/h3><\/h2>\n\n\n

At this point, \u201cMinimalism\u201d even refers to a lifestyle, the trend among some younger people to get rid of all this stuff, this clutter in our lives. You chose to title the show Minimal. Why is this term relevant in 2025? How does it still function in an art context?<\/strong>
I think it was important to me to still include it, even though it\u2019s not necessarily Minimalism, precisely in order to pose the question of what it is we can find at that juncture of time in the 60s and 70s, when so many artists were simultaneously relinquishing pedestals and placing sculptural objects on the floor, making works that are questionably somewhere between a painting and a sculpture, and so on.<\/p>\n\n\n

What has always been fascinating to me is this kind of embodied experience, this sense in which the work really began to move into the viewer\u2019s space. Trying to find some link point that would be more familiar to people, this word \u201cminimal\u201d was in essence a way, hopefully, of having some resonance now. As I was researching the topic, it seemed quite funny to me how today the term has absolutely zero relationship to art for most people. So how might we bring it back to that? Is there something still to be unearthed, or brought back into common parlance?<\/p>\n\n\n\n

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Agnes Martin,
 Blue-Grey Composition<\/em> (1962). Oil on canvas. 30.5 \u00d7 30.5 cm (without frame). Pinault Collection \u00a9 Agnes Martin Foundation, New York \/ Adagp, Paris, 2025. Photo: Marco Cappelletti \u00a9 Palazzo Grassi.<\/figcaption><\/figure>\n\n\n\n

\u201cMinimal\u201d has meant so many things. All of the artists who came to be called Minimalists disliked the word, which, at first, had a lot of negative weight. It implied that an artwork didn\u2019t offer enough to look at. Or a certain disdain when artists like Flavin and Andre used industrial materials in a very direct manner, or Judd and Tony Smith hired fabricators to make their works. The adjective \u201cminimal\u201d implied that the works of these artists weren\u2019t \u201cart,\u201d or not art enough.<\/strong><\/p><\/p>\n\n\n\n

\u201cAll of the artists who came to be called ‘minimalists’ disliked the word.<\/em>\u201d \u2013 James Meyer<\/h3><\/h2>\n\n\n\n

And then it emerged as the name of a movement, a style, in classic avant-gardist tradition. \u201cImpressionism,\u201d \u201cFauvism,\u201d and \u201cCubism\u201d were also insults initially. One of the benefits of your structure is its non-linearity. The categories are distinct, yet overlapping; one doesn\u2019t succeed the other temporally or in any other way; they are equitable. The structure seems suitable to this particular building.<\/strong><\/p><\/p>\n\n\n

It\u2019s not only a way to organize the collection, but to adapt the presentation to the Bourse de commerce. I wondered about that. You have the seven sections, but then give certain artists \u2013 On Kawara, Robert Ryman, F\u00e9lix Gonz\u00e1lez-Torres, and Agnes Martin \u2013 their own spaces. Was that due to the depth of Pinault\u2019s holdings of these artists\u2019 works?
<\/strong>Exactly. And also, of course, Meg Webster, who occupies the central atrium, the Rotunda. Fran\u00e7ois Pinault has a wealth of work by Ryman, Martin, Kawara, and then there are artists like Webster and Charlotte Posenenske who are really my additions, and who we\u2019ve worked with extensively at Dia [a major lender to the show].<\/p>\n\n\n

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View of the rotunda at the Bourse de commerce \u2013 Pinault Collection pour l’exposition \u201cMinimal\u201d, Paris, 2025. \u00a9 Tadao Ando Architect & Associates, Niney and Marca Architectes, Pierre-Antoine Gatier agency. Photo: Nicolas Brasseur \/ Pinault Collection.<\/figcaption><\/figure>\n\n\n

A question about your categories. I was particularly struck by \u201cBalance.\u201d Some of your themes \u2013 the \u201cGrid\u201d and \u201cMonochrome,\u201d for example \u2013 have inspired entire literatures. \u201cBalance\u201d is less obvious, less expected. How did you come up with that one?<\/strong>
I would honestly say it very much came from the work, but perhaps also back to this dialogue with the visitor, since many of these pieces have a tangible relationship to gravity, to balance, to something oftentimes quite precarious. And so you have a physical reaction to it, which is, \u201cOh! Is this going to fall? Is it going to drop? How do I navigate around it?\u201d<\/p>\n\n\n

“Many of these pieces have a tangible relationship to gravity, to balance, to something oftentimes quite precarious.<\/em>\u201d \u2013 Jessica Morgan<\/h3><\/h2>\n\n\n\n

And that seemed to be such a shared condition they were playing with in so many of these works, whether it was demonstrating the weight of a material, referring to an industrial process, or even a more traditional process that involves weights, or really thinking about the dialogue between form, materiality, and the space itself. It was striking to me that so many artists had explored this in one way or another.<\/p>\n\n\n\n

The last category is \u201cMaterialism,\u201d and includes works by Hans Haacke, Maren Hassinger, Walter De Maria, Dorothea Rockburne, Nobuo Sekine, Michelle Stuart, Kishio Suga, Jackie Winsor, and Iannis Xenakis. An interest in materials and materiality is a common concern of all the artists in Minimal<\/em>. What makes the practices in this section uniquely \u201cmaterialist?\u201d<\/strong><\/p><\/p>\n\n\n\n

\n
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View of the exhibition “Minimal”, Bourse de commerce \u2013 Pinault Collection, Paris, 2025. \u00a9 Tadao Ando Architect & Associates, Niney and Marca Architectes, Pierre-Antoine Gatier agency. Photo: Nicolas Brasseur \/ Pinault Collection.<\/figcaption><\/figure>\n\n\n\n
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Lygia Pape,
 Tt\u00e9ia 1, C<\/em> (2003-2025). Courtesy Projeto Lygia Pape.
View of the exhibition \u201cLygia Pape. Tisser l\u2019espace\u201d, Bourse de commerce \u2013 Pinault Collection, Paris, 2025. \u00a9 Tadao Ando Architect & Associates, Niney and Marca Architectes, Pierre-Antoine Gatier agency. Photo: Nicolas Brasseur \/ Pinault Collection.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

\u201cWhat I was interested in was the parallel history of Land Art.<\/em>\u201d \u2013 Jessica Morgan<\/h3><\/h2>\n\n\n\n

What I was interested in was the parallel history of Land Art, which is impossible to bring physically into the gallery, although we gesture at it with Meg Webster\u2019s piece in the Rotunda, which really is a kind of interior Land Art. I saw these artists as continuing that conversation, or perhaps troubling that history, whether through using twine and wood in the case of Jackie Winsor, creating something more geometric from something natural, or the kind of materialist immateriality you find with Haacke<\/strong>\u2019s work, represented here by a condensation box, and Walter De Maria<\/strong>\u2019s energy bar \u2013 energy is invisible, but we know that it\u2019s there<\/p><\/p>\n\n\n\n

I wanted to explore this sense in which materialism can be expanded to something quite abstract, emotional, or that even has a kind of Zen quality to it, and really think about the way in which artists were playing with the elemental qualities of the material they were working with, producing something that, again, references nature, but turns it in a very different direction.<\/p>\n\n\n\n

\"Dan\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Dan Flavin,
Alternate Diagonals of March 2 (1964) (to Don Judd)<\/em> [1964]. Red and gold fluorescent light (Pinault Collection).
View of the exhibition \u201cMinimal\u201d, Bourse de commerce \u2013 Pinault Collection, Paris, 2025. \u00a9 Tadao Ando Architect & Associates, Niney and Marca Architectes, Pierre-Antoine Gatier agency. Photo: Nicolas Brasseur \/ Pinault Collection.<\/figcaption><\/figure>\n\n\n

Can you share what Webster\u2019s projects in the Rotunda will be?<\/strong>
Well, her work will inhabit an interesting space, with the historic ceiling painting that\u2019s essentially a complex exploration of colonial extraction. So I\u2019m excited about the fact that Meg\u2019s work \u2013 large-scale installations that deal with locally sourced materials such as terre jaune de Commelle from Is\u00e8re, terre rouge du Royans from Valence, sea salt from the Camargue, and local yellow beeswax, twigs, and flora\u2014will be taking a very different approach.<\/p>\n\n\n

Meg\u2019s work really exemplifies this incredible ecological position she\u2019s held now for decades, which was very much ahead of its time, but was also a landmark contribution to the art of its day with these extraordinary geometric forms. Meg\u2019s participation is politically important too. Her work will have a very significant presence when you arrive. Which returns us to a fundamental question: when we think of Minimal art, are we thinking of steel? Are we thinking of bronze? Are we thinking of industrial materials? For here\u2019s Meg Webster creating these very significant and impactful minimal forms entirely from natural materials.<\/p>\n\n\n\n

\u201cMinimal\u201d, exhibition from October 8th, 2025 to January 19th, 2026, at Bourse de commerce \u2013 Pinault Collection<\/a>, Paris 1st<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Interview with Jessica Morgan, curator of the exhibition “Minimal” at the Bourse de Commerce James […]<\/p>\n

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