MINORIA emerges from the need to articulate the moment before form — a state in which art exists prior to visibility, definition, and institutional framing. Rather than presenting completed works, MINORIA operates as a threshold: a condition of emergence where perception precedes interpretation.

MINORIA: First Trace establishes this position through a silent, non-public installation conceived as an initiating gesture rather than a conventional exhibition. Absence, restraint, and withdrawal function here as active curatorial tools, allowing meaning to arise without spectacle, narrative closure, or audience-driven validation.

The project positions art as a process of becoming rather than an object of display. By suspending authorship, resolution, and interpretation, MINORIA foregrounds the conditions under which presence comes into being.

This inaugural gesture defines MINORIA as a long-term curatorial program dedicated to liminality, invisibility, and the subtle mechanics of emergence.