Séquences progressives ambivalentes

Julio Le Parc began to work on the painting’s
surface in 1958, with the aim of
limiting as much as possible the expression
of the artist’s subjectivity on the canvas.
At the time, he established ‘unitary
systems for governing the surface and
shapes, and their relation on the surface,
according to a determined program.’
In the eye of the viewer, the paintings’
surfaces seem to present a vibration.

• Julio Le Parc, Palais de Tokyo, Paris, February-May 2013
• Julio Le Parc, Obras 1959-1981, Museo de Bellas Artes,
Caracas, May-June 1981
• Julio Le Parc, Recherches 1959-1971 – Untersuchungen,
Städtische Kunsthalle, Düsseldorf, January 21-February 27,

• Julio Le Parc, monograph, by Pierre Arnaud,
Skira Flammarion, 2013, p. 120
• Julio Le Parc, monograph, by Pradel Jean-Louis,
Ed. Severgnini, 2009, p. 302-303
• Julio Le Parc, Experiencias, 30 años, 1958-1988,
exhibition catalog, Ed. Secrataria de Cultura de la Nación,
Dirección Nacional des Artes Visuales, Buenos Aires, 1988,
p. 11
• Le Parc, Cuadernos Guadalimar n°3, Ediciones Rayuela,
Madrid, 1977, p. 45
• Julio Le Parc, Recherches 1959-1971 – Untersuchungen,
exhibition catalog, Städtische Kunsthalle, Düsseldorf,
1972, p. 7

About Julio Le Parc

Celebrated for what he calls “disturbances in the artistic system,” Julio Le Parc is among the progenitors of the Op Art, or Kinetic Art, movement, who posits a utopian vision for art and society through his perceptually illusory paintings, sculptures, and immersive installations. As co-founder of the Groupe de Recherche d’Art Visuel (Visual Art Research Group) (1960-68), he worked to break down the boundaries between art and the viewer. In his words: “I have tried […] to elicit a different type of behavior from the viewer […] to seek, together with the public, various means of fighting off passivity, dependency or ideological conditioning, by developing reflective, comparative, analytical, creative or active capacities.” Parc accomplishes this through color, line, light, shadow, and movement, composed to make still forms seem to move, solid structures seem to dematerialize, and light itself seem plastic.

Argentinian, b. 1928, Mendoza, Argentina, based in Paris, France

Exhibition Highlights On Artsy

Julio Le Parc: Form into Action, Pérez Art Museum Miami (PAMM), Miami
Julio Le Parc, Galerie Perrotin, New York
julio le parc | 1959 - 1970, Galeria Nara Roesler, New York