Following his major retrospective at the Perez Art Museum, Miami
and his concurrent exhibition at Perrotin New York, Julio Le Parc,
89 years old, returns to Paris with an exhibition of recent
and historic works.
Both floors of the gallery will be dedicated to new installations
and mobiles that will be exhibited alongside recent paintings.
Shown for the first time, these works will create a dialogue
with the historical paintings, sculptures and installations
from the 70’s to the 90’s. Lastly, a virtual reality artwork,
designed with his son Juan Le Parc, will offer an insight into
the artist’s work.
On the occasion of the exhibition, Perrotin will publish a comprehensive
bilingual book, which will include a text by Hans Ulrich Obrist
and an interview between the artist and Jérôme Sans.
Extract of the catalog “Julio Le Parc, Bifurcations”, Perrotin editions, 2017
Julio Le Parc’s art burst with boundless energy. Encountering him
in his studio in the Paris Cachan suburb, he exudes a sense of youth
and constant experimentation. Born in Argentina in 1928 and living
in France, he is known for using projected, moving and reflected light
to create works of art in constant flux which are as vibrant today
as they were at the time of their creation. At the heart of his practice
is a desire to experiment with our engagement and perception of art,
thereby altering our perspective on the roles of the artist, the spectator
and the institution, as well as a firm belief in the seditious potential
of art. A note he wrote for Instagram at the time of his exhibition
at the Serpentine Sackler Gallery, London in 2014 read: “Optimismo
siempre” (optimism forever), a sentiment echoed by his playful
and irreverent oeuvre.
Through his experimentation with light, Le Parc creates situations
of visual instability, in the work and in the viewer’s experience.
These immersive and interactive installations are often activated
by the viewer’s participation – shifting the focus of his work from
the hand of the artist to the spectator. When I visited him in his Paris
studio in 2013, he told me, “In my practice, people see what they see.
A form of mystification comes into play when there are intermediaries,
from art critics to art historians, texts, museum directors, galleries and
also the market.”
Early on in his formation, as he attended the Fine Arts School of
Buenos Aires in the 1940s, Le Parc became immersed in a movement
that reflected upon the political engagement of artistic forms.
In many of our interviews we discussed his figurative contemporaries,
inspired by Mexican muralists, and their abstract counterparts:
“They [the figurative artists] were left-wing and they expressed themselves
through figuration. They wanted to highlight social injustice, exploitation
and the radiant future of struggles. [By contrast] the group
Concreto-Invención produced geometric forms and saturated colours,
but they also considered themselves left-wing. They presented
themselves as being engaged with Marxism, with dialectics, and they
say that one could intervene through colour and basic forms without
the need for figuration. For me, these considerations were very
important. We have here the same denunciation of an unjust society,
the same drive for change, and yet two opposing forms of expression.”
Since his very first experiments, an unmediated encounter between
the artwork and the viewer was paramount: “We tried to create
a relationship with viewers through the medium of the visual,
of the retina, and by eliminating the anecdotal. We wanted it to be direct,
that the surface of the work be what it was and stood on its own,
without trickery, in order to create a direct relationship with the eye.”
Inspired in part by Mondrian’s works, Le Parc’s works developed
in a strongly optical and kinetic direction: “Our concern was to create
paintings in which the whole was dictated by a system, while producing
a visually interesting result. We called this ‘instability’, in the sense
that the eye is not only stimulated at the point on which it focuses,
but also in the periphery. This creates a movement—there is never
a fixed point; something is always happening on the sides, it’s dynamic.”
“Light made you think, and, there was light”, Le Parc wrote on a note
in response to my question about his works with light and environments,
echoing and modifying the demiurge’s word in Genesis into
an interactive encounter of perception and thought. Le Parc’s first works
with light date back to 1959 and highlight a development in his
practice from kinetic object-based works to moving-light installations.
These, now regarded as his most iconic artworks, stem from his
continued investigation into the public’s engagement with art and
the uses of exhibition spaces. This series bring forth different forms
of engagement through a variety of optical illusions while using the same
medium: light. Light that reflects, that is projected, or that is in movement
emphasises the endless possibilities of perception offered
by a common medium. When I asked him about his relationship
to architecture, Le Parc referred to this in as “potential architectures”,
though the works’ significance remains firmly rooted in the experiential:
“Little by little I realised that perhaps I could develop he capacity
to stimulate the imagination by manipulating elements that are more
accessible than space itself, by making interventions on the surface.
Even if there is always an idea behind it, and nothing is ever superfluous,
it is not about throwing paint against the wall—there are sequences,
Julio Le Parc was born in 1928 in Mendoza, Argentina. He works
and lives in Paris since 1958. He was awarded the International
Grand Prize for Painting at the 33rd Venice Biennale in 1966.
Julio Le Parc is a defender of human rights, he fought against dictatorship
in Latin America through numerous collective anti-fascist projects.
His works are part of the main worldwide public collections and are
regularly shown in international exhibitions.
Julio Le Parc has recently been invited for monographic exhibitions
at the Perez Art Museum, Miami, USA (2016), the Serpentine Sackler
Gallery, London, UK (2015) and the Palais de Tokyo, Paris, France
(2013). He has shown within the group exhibitions “Art Unlimited”
Basel, Switzerland (2017); “Eye Attack - Op art and Kinetic art
1950-1970” Louisiana Museum of Modern Art, Humlebaek, Denmark
(2016); “The Illusive Eye”, El Museo del Barrio, New York, USA
(2014); “Phares”, Centre Pompidou Metz, France (2013); “Art Turning
Left: How Values Changed Making 1789-2013”, Tate Liverpool,
UK (2013); “Dynamo. Un siècle de lumière et de mouvement dans l’art
1913-2013”, Grand Palais, Paris, France (2013); “Modernités Plurielles
1905-1970”, Centre Pompidou, Paris, France (2012); “Ghosts
in the Machine”, New Museum, New York, USA (2012); “Suprasensorial:
Experiments in Light, Color and Space”, Hirshhorn Museum
and Sculpture Garden, Washington D.C, USA (2012).
His works are part of the main worldwide public collections: MoMa
New York, Tate London, MNAM/Centre Georges Pompidou Paris,
LACMA, Louisiana Museum of Modern Art Humlebaek, Musée d’art
contemporain de Montreal, MACBA Buenos Aires, Walker Art Center
Minneapolis, The Museum of Fine Arts Houston, Musée d’art Moderne
de la ville de Paris, Museo Nacional Reina Sofia, Guggenheim Abu
Dhabi, Museum Boijmans Van Beuningen Rotterdam, Albright-Knox
Art Gallery, Buffalo, Cisneros Fontanals Art Foundation, Miami,
New Orleans Museum of Art, Delgado Museum, New Orleans.