Julio Le Parc, ‘Series 14 nº 12’, 1971, Galeria Nara Roesler

A pioneer in Kinetic and Op Art, Argentine artist Julio Le Parc moved to Paris in 1958, where he still resides. For his solo exhibition at the Palais de Tokyo in Paris last year he recreated this seminal 1963 installation consisting of mirrors and lights; it creates a labyrinth that disorients the viewer, evoking a sense of instability. Using often low-tech means (flashlights, lamps, mirrors, and wood), Le Parc’s early experiments in installation art were unabashedly political; his spatial distortions and immersive environments, engaged in a state of flux, sought to break down standard barriers of experience, allowing for a more democratic interaction with one’s environment.

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