"A perfect cone of white salt, taller than I am. A low, circular mound of fine, granular soil that rises to meet me, like a bulging ocean swell. Not a speck escapes its edge. An almost hemispherical dome of smooth, compacted clay, whose surface cracked as it dried from the mould it was cast in. The hemisphere stands on the floor like an igloo in the desert."
"American artist Meg Webster's sculptures are round things disposed about a circular space that rises to a distant glass and iron roof at the Bourse de Commerce, originally built in the 1760s as a wheat silo and exchange. Later it became the Paris Commodities Exchange, and now the Bourse is home to French billionaire Francois Pinault's art collection, which numbers more than 10,000 works."
"Jessica Morgan, Dia's director, has curated Minimal, working with Pinault's vast collection and loans from other institutions. But this is less curating than wrestling, as much with the huge building as with the art. The Bourse is a kind of Tower of Babel, and Minimal is an odd mixture of solo displays, like Webster's, and rooms where single works by different artists are bought together thematically, according to the rubrics Light, Balance, Surface, Grid, Monochrome and Materialism."
Meg Webster arranges large, elemental sculptures—cones of salt, mounds of granular soil, hemispheres of cracked clay, beeswax walls and branch stockades—across a circular space under a glass and iron roof. The materials create a primal, tactile minimalism that responds to the building's scale. The Bourse de Commerce, originally a wheat silo and later a commodities exchange, now houses Francois Pinault's collection of more than 10,000 works. Jessica Morgan curated Minimal from Pinault's holdings and institutional loans. The exhibition mixes solo presentations with thematic rooms organized by Light, Balance, Surface, Grid, Monochrome and Materialism. Some areas feel rushed, while others offer dramatic, vulnerable beauty.
Read at www.theguardian.com
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