Exhibition minimal, minimal, a proposal by Yvannoé Kruger. From 22 May to 19 July, 2025.
! The exhibition will not be open on Saturday, 12 July!
minimal, minimal, the latest exhibition under the Coupole in Aubervilliers, brings together 24 artists around a sensitive and radical reflection on simplicity, traces, and manufactured objects imbued with history. After several exhibitions addressing essential and necessary topics, minimal, minimal is conceived as an invitation to shift our gaze toward discreet forms and silent gestures that, in their own way, also bear witness to the world.
Curated by Yvannoé Kruger, minimal, minimal proposes a dialogue where simple forms, subtle gestures, and familiar materials are invested with a new presence and a particular poetic tension. It is neither a tribute nor a nostalgic look back, but a strange reminder: something raw, subtle, sometimes melancholic, emerges from the economy of means adopted by the artists.
With: Giorgio Andreotta-Calò, Mathilde Albouy, Estèla Alliaud, Dana-Fiona Armour, Tarek Atoui & Invisible Mountain, Laëtitia Badaut Haussmann, Sami Benhadj Djilali, Alix Boillot, Edith Dekyndt, Florence Jung, Marie Matusz, Nicolas Momein, Jack O’Brien, Frank Perrin, Enrique Ramirez, Luca Resta, Winnie Mo Rielly, Laura Sellies, Ser Serpas, Kirill Savchenkov, Anna Solal, Erwan Sene, Ayman Zedani
Curated by: Yvannoé Kruger
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After several exhibitions addressing essential and necessary subjects, minimal, minimal offers an invitation to shift one’s gaze toward subtle forms and quiet gestures—those who bear witness to the world in their own way.
Invitation letter to artists:
No matter how much we try to move past art history, it always returns—like an echo, a background noise we thought we had silenced. Today, there is something in the air that evokes minimal art. A strange echo—not a return, nor a simple quotation. It’s not a revival, but a shift.
Minimal art in the 1960s aimed to cut away the excess: eliminating the superfluous, rejecting lyricism, striping art of subjectivity. It was a radical, intellectual gesture — a clean break after modernism and the catastrophes of history. Today, the forms are simple, the gestures sharp, the manufactured objects reappear—but with a new tension, a weight, and a subtle unease that distances them from orthodox minimalism. What once sought essence now sometimes feels like a muffled cry, a restrained scream, or a quiet erasure.
This is where everything shifts. What once belonged to an assumed aesthetic program is now tinged with other concerns. The works no longer purify to tend towards neutrality; they dig, scrape, and let fissures show through.
Some seize found objects, but without the detachment of the ready-made. Others adhere to absolute rigor, but without yesterday’s ideal of purity. Still others attempt to purify not to extract, but to better reveal. It is no longer purity that is sought, but a form of concentration, a way to make visible what would otherwise disappear in the noise of the world.
Hal Foster, in The Return of the Real, shows how contemporary avant-gardes don’t just repeat those of the past: they reactivate them, shift them, infuse them with new political and social meaning. Perhaps that’s what’s at stake here: a gesture where art history is not a burden, but a shifting ground on which each artist can leave a mark. What remains of minimalism may not be a formal vocabulary, but a way of facing things.To focus on the almost-nothing. To give attention to what seems invisible in a saturated world. This bare ness might be seen as a refusal of the spectacular, a resistance to excess—or simply another way to inhabit form.
Why this need for reduction today?
Why these objects, if they are no longer ready-mades?
Why, in this act of less, is there sometimes more?
The exhibition at Poush seeks to make these tensions visible—these hesitations, these inflection points. Recovered materials sit alongside sharp gestures, raw interventions, and installations where absence weighs as much as presence. Major artists engage in dialogue with younger practices, crossing perspectives and territories—affirming Paris as a place where these new forms take shape.
Now it’s your turn to make your mark.
Yvannoé Kruger