“Minimal” is on view at La Bourse de Commerce — Pinault Collection through January 19, 2025. Courtesy Bourse de Commerce - Pinault Collection

Minimalism emerged as both an act of resistance and a direct response to the exuberance of mass media and mass production—forces celebrated as progress that fundamentally reshaped how we relate to objects and to material reality itself. Seen from today’s vantage point, works made during the height of the movement in the 1960s and ’70s reveal a radical and strikingly timely philosophical and political interrogation of our modern sense of reality that feels particularly urgent in an era defined by the mediatization and spectacularization of the digital sphere.

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Against the promise of endless availability and the relentless cycles of production, circulation and consumption—including the infinite reproducibility of the digital image—Minimalism’s artists embraced an ascetic discipline of reduction, stripping the artwork to its essential terms and events while intensifying its effects. In doing so, they underscored how an object, through restraint, can shape perception and reconfigure the very space and architecture that contain it.

“Minimal,” a major exhibition that opened at La Bourse de Commerce in October, brings together over 100 works, including a core group drawn from François Pinault’s collection, alongside international loans from the Dia Foundation in New York and other institutions. Curated by Dia director Jessica Morgan, it traces, likely for the first time, both the diversity and the global reach of the movement launched by a generation of artists who initiated a radical approach to art that later took on different forms around the world.

The exhibition unfolds as a journey that allows for multiple discoveries and rediscoveries, showcasing how artists from diverse cultural backgrounds across Asia, Europe, and North and South America similarly challenged traditional methods of art production and display. At its core is a fundamental reconsideration of the artwork’s placement in relation to the viewer and within the cyclical flow of energy and matter that underpins the cosmos itself.

The works in the show were born out of a shared attempt to stage raw encounters with matter and to engage the most primordial and authentic structures of human experience. Conceived with both conceptual and spiritual rigor, they privilege presence and perception over form, becoming experiential sites of “lived perception”—embodying an entire mode of thinking in an art object that places the physical self at the center of understanding the world.

Philosophically, Minimalist artworks foreground a mature awareness of reality as inherently interrelational, something that arises only in the encounter between object, viewer and environment. A radical manifestation of this interdependence appears in the central installations by American artist Meg Webster, which dominate the Bourse’s scenic, frescoed rotunda. Conceived and realized in collaboration with natural processes, their final form stages a tense resistance to entropy, which inevitably alters their shape and appearance over time beyond any claim to human formal control or perfection. Natural processes are embedded within these seemingly simple structures, which ultimately draw an entire ecosystem into Tadao Ando’s spare architecture. Here, the total choreography matters as much as........

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