DOCSLIB.ORG

Julio Le Parc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Julio Le Parc GALERIE BUGADA & CARGNEL PARIS JULIO LE PARC Hall 2.0, stand G12 1 Julio Le Parc with Continuel-Lumière Cylindre in 1962 On the cover: Julio Le Parc with Continuel-Lumière Cylindre 1962 - 2012 wood, plexiglas, motor, light bulb 510 x 460 x 140 cm exhibition view, Palais de Tokyo, Paris, 2013 2 JULIO LE PARC “Generally speaking, I have tried, Historic figure and committed artist, Julio Le Parc (b. 1928) is a major figure through my experiments, to elicit a in Op and Kinetic art, founding member of G.R.A.V. (Groupe de Recherche different type of behavior from the d’Art Visuel, or Visual Art Research Group) and recipient of the Grand Prize for viewer […] to seek, together with the Painting at the 1966 Venice Biennale. This socially conscious artist was expelled public, various means of fighting off from France after the events of May 1968. A defender of human rights, he passivity, dependency or ideological fought against dictatorship in Latin America. In 1972, when the Musée d’Art conditioning, by developing reflective, Moderne de la Ville de Paris offered him a large retrospective, Le Parc decided comparative, analytical, creative whether or not to accept by flipping a coin: the exhibition did not take place. or active capacities.” Julio Le Parc Julio Le Parc creates interactive, social art. More than a mere play of light and shapes, his works are activated by the viewer’s physical interac- tion: movements of the retina, of the body, activate paintings, sculptures and installations that, as the artist insists, seek to “elicit a different behavior from the spectator […] and try to search alongside the public for the means of combating passivity, dependence or ideological conditioning, and to develop capacities for reflection, comparison, analysis, creation and action.” Particularly explorative of the spectator’s role, the artist creates work that is, in his own words, both interactive and unstable. Le Parc intends to elicit a specific reaction: faced with his work, viewers must lose their bearings then look at their surroundings from a fresh perspective. Le Parc’s Light Works, for instance, are more than mere visual play: they challenge our relationship to the world. And light itself is more than a mere medium: it allows Le Parc to achieve his goal of creating a work that is constantly changing. The result is a never-ending, unpredictable play of light and shadow. For the visitor, it is an immersive esthetic experience. For the artist, it is about “initiating or pur- suing the demolition of traditional notions about art, its construction, display and appreciation.” Daria de Beauvais, exhibition catalog The Illusion of Light, Palazzo Grassi / François Pinault Foundation, Venezia, 13.04 - 31.12.2014, Electa editions 3 The G.R.A.V., Paris, 1961. From left to right: François Morellet, Martha Le Parc wearing Julio Le Parc, Argentinian Pavillion, Julio Le Parc, Francisco Sobrino, Jean-Pierre Yvaral and Joël Stein. Lunettes pour une vision autre, 1965 Venice Biennale, 1966 1928 Le Parc creates his first Reliefs and experiments BIOGRAPHY Birth of Julio Le Parc on September 23, 1928 in on visual instability through the use of light Mendoza, Argentina. and movement, starting his series of Continuels Mobiles. 1943 - 1946 Le Parc attends evening classes at the School of 1962 Fine Arts in Buenos Aires. He develops his interest G.R.A.V. has its first exhibition, and Le Parc further for avant-garde artistic movements, particularly experiments on ligth, be it moving, projected, for his professor Lucio Fontana’s Spatialism and reflected or pulsating. the Concrete Art Invention movement. 1963 1955 For the 3rd Biennale de Paris, G.R.A.V. creates After a few years of living on the edge of society, its famous labyrinth, a collective work bringing Le Parc enters the Higher School of Fine Arts of together works by all its members: cylinders, mir- Buenos Aires. Politically engaged, president of ror walls, ‘all over’, that turn visitors into actors the university’s student union, he plays an active of their own performance, experiencing spatio- role in the students’ movements, and meets his temporal disorientation. future wife Martha. Le Parc integrates exterior contingencies in his works and shows increasing interest in the active 1958 involvement of the spectator by means of play Le Parc is selected to represent Argentina at the rooms and games to be activated. 1st Biennale de Paris, just launched by French Minister of Culture André Malraux. He moves to 1966 Paris where he settles. Le Parc is awarded the International Grand Prix Le Parc begins to work on the painting’s surface for Painting at the 33rd Venice Biennale. The and establishes unitary systems for governing the sensorial and aesthetic experience provided by surface and shapes. a room filled with 40 unstable mobiles, rotating mirrored discs, machines projecting and reflect- 1959 ing light into the space blurs the line separating In reaction against Tachism and taking as a start- art into categories such as sculpture or painting. ing point the work of Victor Vasarely, the writings G.R.A.V. organizes Une journée dans la rue, a of Mondrian and the tradition of Constructivism, public event taking place in various streets of Le Parc develops a radical approach to the paint- Paris and involving active participation of passers- erly surface. by, who improvise choregraphies on Le Parc’s Le Parc works on progressive sequences of forms, Dalles mobiles. In a pre-May 68 agitprop mode, first in black and white, then in colour, choosing G.R.A.V. aims at promoting a democratic type of a unique scale of fourteen colors, which he has art and mixing life with an art filled with social not modified to this day. The choice of following concerns. predetermined systems limits as much as possible the expression of the artist’s subjectivity on the 1967 canvas. Le Parc holds his first retrospective at Instituto di Tella, Buenos Aires, followed by retrospectives 1960 in Caracas, Montevideo and Asuncion. Le Parc cofounds the G.R.A.V. (Groupe de Recherche d'Art Visuel) along with Horacio 1968 Garcia Rossi, François Morellet, Francis Sobrino, G.R.A.V. is very active during the May 68 events, Joël Stein and Yvaral. Nonconformists, commit- and particularly Le Parc, which leads him to be ted, they want to set creation free and explore expelled from France. He cancels his participation new fields. G.R.A.V. is in contact with other to Documenta in Kassel by telegram. The expul- artists groups abroad, who also aim at taking sion order is suspended five months later thanks away the sacred aura of art and the artist: Group to the intervention of French Minister of Culture N in Padua, Group T in Milan, Group Zero in André Malraux. Düsseldorf… 4 Une journée dans la rue, Paris, 1966 Actress Dany Carrel in front of Julio Le Parc’s Cloison à lames réfléchissantes Faites tomber les mythes, 1969 in Henri-Georges Clouzot’s movie La Prisonnière, 1968 The sort of social inteervention that G.R.A.V. was 2011 promoting through its art having become reality Le Parc is at honor at ERRE – Variations labyrin- though the May 68 event, the artists decide to thiques at Centre Pompidou, Metz, where he disband the group. presents several rooms with large-scale immer- sive light works. 1971 Le Parc returns to painting, a practice he has 2012 abandonned since 1960, and develops colors Le Parc inaugurates the Cultural Space Julio experiments on large scale canvas based his 14 Le Parc in his hometown of Mendoza. color basis. He lightens the Obélisque of Place de la Concorde in Paris, being the first living artist to do a project 1972 on the historical monument – the blue Klein light- Le Parc holds a retrospective exhibition at the ning, the only other artistic project done on the Kunsthalle Düsseldorf involving the participation monument, was realised long after Klein’s death. of the public. He is offered a major retrospective at the Musée 2013 d'art moderne de la Ville de Paris. Wondering Le Parc has a major solo exhibition at Palais whether to accept or not, he writes a critical text de Tokyo, Paris, his first major show in a French on the position of the artist and the institution. institution since the 1980s, some 41 years after Considering the pros and the cons balance, he the retrospective that did not happen at Musée decides to leave it to chance to decide, and have d’Art Moderne de la Ville de Paris. one of his sons toss a coin. The result is so that he He is the artist with the most works in the group turns down the offer. exhibition Dynamo. Un siècle de lumière et de mouvement dans l’art, 1913-2013, at Galeries 1975 nationales du Grand Palais, Paris. Le Parc develops the Modulations series using the technique of airbrush paint to obtain gradual 2014 shades from dark to clear and a precise modula- A large ensemble of works by Le Parc belong- tion of the surface of the canvas. ing to the Daros Collection is shown in Le Parc Lumière, Casa Daros Latinamerica, Rio de Janeiro, 1978 and his major work Continuel Lumière - Cylindre, Le Parc has a retrospective exhibition at the Mirò from to the Collection Pinault, is shown in the Foundation in Barcelona. exhibition The Illusion of Lights at Palazzo Grassi, Venice. 1993 Le Parc presents an immersive light room in the exhibition Latin American Artists of Twentieth Century at Museum of Modern Art, New York. 2000 Le Parc shows historical light pieces at Museo Nacional de Bellas Artes, Buenos Aires; Museo Nacional de Bellas Artes, Neuquen; Museo Nacional de Bellas Artes, Cordoba.
Load more

Recommended publications
  • Copertina Artepd.Cdr
    Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo.
    [Show full text]
  • Jcmac.Art W: Jcmac.Art Hours: T-F 10:30AM-5PM S 11AM-4PM
    THE UNBOUNDED LINE A Selection from the Juan Carlos Maldonado Art Collection Above: Carmelo Arden Quin, Móvil, 1949. 30 x 87 x 95 in. Cover: Alejandro Otero, Coloritmo 75, 1960. 59.06 x 15.75 x 1.94 in. (detail) THE UNBOUNDED LINE A Selection from the Juan Carlos Maldonado Art Collection 3 Juan Carlos Maldonado Art Collection was founded in 2005 out of a passion for art and a commitment to deepen our understanding of the abstract-geometric style as a significant part of Latin America’s cultural legacy. The fascinating revolutionary visual statements put forth by artists like Jesús Soto, Lygia Clark, Joaquín Torres-García and Tomás Maldonado directed our investigations not only into Latin American regions but throughout Europe and the United States as well, enriching our survey by revealing complex interconnections that assert the geometric genre's wide relevance. It is with great pleasure that we present The Unbounded Line A Selection from the Juan Carlos Maldonado Art Collection celebrating the recent opening of Juan Carlos Maldonado Art Collection’s new home among the thriving community of cultural organizations based in Miami. We look forward to bringing about meaningful dialogues and connections by contributing our own survey of the intricate histories of Latin American art. Juan Carlos Maldonado Founding President Juan Carlos Maldonado Art Collection Left: Juan Melé, Invención No.58, 1953. 22.06 x 25.81 in. (detail) THE UNBOUNDED LINE The Unbounded Line A Selection from the Juan Carlos Maldonado Art Collection explores how artists across different geographical and periodical contexts evaluated the nature of art and its place in the world through the pictorial language of geometric abstraction.
    [Show full text]
  • Kinetic Masters & Their Legacy (Exhibition Catalogue)
    KINETIC MASTERS & THEIR LEGACY CECILIA DE TORRES, LTD. KINETIC MASTERS & THEIR LEGACY OCTOBER 3, 2019 - JANUARY 11, 2020 CECILIA DE TORRES, LTD. We are grateful to María Inés Sicardi and the Sicardi-Ayers-Bacino Gallery team for their collaboration and assistance in realizing this exhibition. We sincerely thank the lenders who understood our desire to present work of the highest quality, and special thanks to our colleague Debbie Frydman whose suggestion to further explore kineticism resulted in Kinetic Masters & Their Legacy. LE MOUVEMENT - KINETIC ART INTO THE 21ST CENTURY In 1950s France, there was an active interaction and artistic exchange between the country’s capital and South America. Vasarely and many Alexander Calder put it so beautifully when he said: “Just as one composes colors, or forms, of the Grupo Madí artists had an exhibition at the Museum of Fine Arts in Buenos Aires in 1957 so one can compose motions.” that was extremely influential upon younger generation avant-garde artists. Many South Americans, such as the triumvirate of Venezuelan Kinetic Masters & Their Legacy is comprised of a selection of works created by South American artists ranging from the 1950s to the present day. In showing contemporary cinetismo–Jesús Rafael Soto, Carlos Cruz-Diez, pieces alongside mid-century modern work, our exhibition provides an account of and Alejandro Otero—settled in Paris, amongst the trajectory of varied techniques, theoretical approaches, and materials that have a number of other artists from Argentina, Brazil, evolved across the legacy of the field of Kinetic Art. Venezuela, and Uruguay, who exhibited at the Salon des Réalités Nouvelles.
    [Show full text]
  • Aperto Geometrismo E Movimento
    Aperto BOLLETTINO DEL GABINETTO DEI DISEGNI E DELLE STAMPE NUMERO 4, 2017 DELLA PINACOTECA NAZIONALE DI BOLOGNA aperto.pinacotecabologna.beniculturali.it Geometrismo e movimento Elisa Baldini Tendenze non figurative di orientamento geometrizzante si affermano in Europa nel secondo dopoguerra. La ricerca della purezza formale contraddistingue il nuovo internazionalismo estetico così come l’attenzione al design e alla “sintesi delle arti”. Erede di una sensibilità determinatasi intorno alla metà del secolo precedente, la propensione dell’arte a confrontarsi con le scoperte scientifiche e tecnologiche è caratteristica determinante della attitudine astrattista di questo periodo e mira a superare la tradizionale dicotomia che contrappone arte e scienza, conducendo la prima sul sentiero della regola armonica e del dominio dell’esattezza. Sopravanzando gli esiti delle ricerche astrattiste delle avanguardie di inizio Novecento, che mantenevano una referenzialità con il mondo fenomenico, l’astrazione alla quale gli artisti del secondo dopoguerra fanno riferimento discende dal pensiero concretista di Theo van Doesburg e i suoi esiti contestano tanto la figurazione quanto l’astrazione lirica. All’esistenzialismo informale che aveva dominato la decade precedente le composite sperimentazioni neoconcrete oppongono la necessità di investigare le ragioni oggettive della vista e della percezione. È così che, in molti casi, la grafica evidenzia la necessità degli autori di esplorare con mezzi diversi le poetiche che caratterizzano le loro ricerche. È il caso di Auguste Herbin (1882 – 1960) che in Composizione astratta (Minuit) del 1959 (Tip. 29813) traduce, senza difficoltà alcuna, la sua pittura, fatta di semplici figure geometriche dai colori puri stesi con grandi pennellate piatte, in serigrafia, mezzo peraltro congeniale a dare risalto al contrasto armonico tra sfondo e figure, caratteristica tipica della ricerca di Herbin fin dagli anni Trenta1.
    [Show full text]
  • Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
    Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe.
    [Show full text]
  • Y9 Graphics: Op Art
    Y9 Graphics: Op Art Does this picture make your eyes go funny? Don't worry it's not you – it's Op art! Op art is short for 'optical art'. The word optical is used to describe things that relate to how we see. Have you seen an optical Illusion before? Op art works in a similar way. Artists use shapes, colours and patterns in special ways to create images that look as if they are moving or blurring. Op art started in the 1960s and the painting here is by Bridget Riley who is one of the main op artists. What shapes can you see in the Some op artists made artworks picture below? It is by an Op artist that don't just look as if they are called Victor Vasarely. moving – they actually ARE aAlong with Bridget Riley and moving! Art that moves is another artist called Jesus Rafael sometimes called kinetic art. Soto were three of the most important Op artists. The artwork below is by an artist called Julio Le Parc who often created mobiles. To make this work he has hung lots of tiny bits of metal onto almost invisible suspended threads. These bits of metal jiggle and move slightly with any breeze, and their shadows on the white background also jiggle and move. Can you see the shadows? There are also some abstract artists who don't always make op artworks but sometimes slip into it. This picture by Frank Stella uses bright and jazzy colours that create a buzzy effect on our eyes.
    [Show full text]
  • Download Document
    Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Manuel Espinosa in Europe Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Frieze Masters 2019 - Stand E7 Manuel Espinosa and his European Grand Tour Dr. Flavia Frigeri Once upon a time, it was fashionable among young members of the British and northern European upper classes to embark on what came to be known as the Grand Tour. A rite of passage of sorts, the Grand Tour was predicated on the exploration of classical antiquity and Renaissance masterpieces encountered on a pilgrimage extending from France all the way to Greece. Underpinning this journey of discovery was a sense of cultural elevation, which in turn fostered a revival of classical ideals and gave birth to an international network of artists and thinkers. The Grand Tour reached its apex in the seventeenth and eighteenth centuries, after which interest in the great classical beauties of France, Italy and Greece slowly waned.1 Fast-forward to 1951, the year in which the Argentine artist Manuel Espinosa left his native Buenos Aires to embark on his own Grand Tour of Europe. Unlike his cultural forefathers, Espinosa was not lured by 4 Fig. 1 Founding members of the Concrete-Invention Art Association pictured in 1946. Espinosa is third from the right, back row. Photo: Saderman. the qualities of classical and Renaissance Europe, but what propelled him to cross an ocean and spend an extended period of time away from home was the need to establish a dialogue with his abstract-concrete European peers.
    [Show full text]
  • Jesús Rafael Soto 1923, Ciudad Bolívar (Venezuela) - 2005, Paris (France) Ground Level
    Jesús Rafael Soto 1923, Ciudad Bolívar (Venezuela) - 2005, Paris (France) GROUND LEVEL SOLO SHOWS (Selection) 2015 “Chronochrome” Galerie Perrotin, Paris and New York 2014-2015 “Pénétrable de Chicago”, The Art Institute of Chicago (6 October-15 March) 2014 “Jesús Rafael Soto: Houston Penetrable”, Museum of Fine Arts, Houston, USA “Petite progression “Ecriture (Ecriture “Progresión elíptica “Ecriture Fiac 99”, “Grand Tes Jaune” 2013 “Soto dans la collection du Musée National d’Art Moderne”, Centre Pompidou, Paris 2012 “Soto: Paris and Beyond, 1950-1970”, Grey Art Gallery, New York (10 January-31 March) rosa et blanche”, 1976 noire)”, 1982 rosa y blanca”, 1974 1999 1979 2005 “Soto – A construcao da imaterialidade”, Centro cultural Banco do brasil, Rio de Janeiro (27 April-3 July) Paint on metal Paint on wood and Paint on metal Paint on wood and Paint on wood and metal 1997 “Jesús Rafael Soto”, Galerie nationale du Jeu de Paume, Paris (January-March) 14 x 50 x 50 cm metal, nylon 260 x 243 x 150 cm metal, nylon 253 x 253 x 17 cm 1/4 3/4 1/16 1/2 1/2 3/4 touring: Stiftung fur Konkrete Kunst, Reutlingen, Germany (20 April-22 September) 51/2 x 193/4 x 193/4 in. 250 x 506 x 30 cm 102 x 95 x 59 in. 208 x 203 x 40 cm 99 x 99 x 6 in. 1/2 1/4 3/4 3/4 3/4 1993 “Retrospective”, Fundação de Serralves, Porto (April-June); touring: Musée des Beaux-arts de Pau, France (January – March) 98 x 199 x 11 in.
    [Show full text]
  • Julio Le Parc: 1959 - 1970 Galeria Nara Roesler | New York
    julio le parc: 1959 - 1970 galeria nara roesler | new york exhibition october 7th - december 17th, 2016 mon - sat | 10am - 6pm [email protected] nararoesler.com.br exhibition view -- galeria nara roesler | new york -- 2016 Julio Le Parc A Constant Quest Estrellita B. Brodsky This essay was previously published to accompany the exhibition A Constant Quest, at Galeria Nara Roesler | São Paulo (oct. 10th - dec. 12th, 2013). During the course of six decades, Julio Le Parc has consistently sought to redefine the very nature of the art experience, pre- cipitating what he calls ‘disturbances in the artistic system’. In so doing, he has played with the viewers’ sensory experiences and given spectators an active role. With fellow members of the Groupe de Recherche d’Art Visuel (GRAV)—an artist collec- tive Le Parc established with Horacio García Rossi, Francisco Sobrino, François Morellet, Joël Stein, and Jean-Pierre Vasarely (Yvaral) in Paris in 1960—Le Parc generated direct encounters with the public, while undermining what they considered the artificial constraints of institutional frameworks.1 As their manifesto Assez de mystifications [“Enough Mystifications”, Paris, 1961] announced, the group’s intention was to find ways to confront the public with artwork outside the museum setting by intervening in urban spaces with subversive games, politically charged flyers, and playful questionnaires.2 Through such strategies, Le Parc and GRAV turned spectators into par- ticipants with an increased self-awareness, both achieving a form of social leveling and anticipating some of the sociopoliti- cal collaborative and relational strategies that have proliferated over the past two decades.
    [Show full text]
  • JULIO LE PARC B. September 23, 1928, Mendoza, Argentina Lives In
    JULIO LE PARC b. September 23, 1928, Mendoza, Argentina Lives in Paris, France SOLO EXHIBITIONS 2019 Julio Le Parc. Un visionario. The CCK, Buenos Aires, Argentina 2017 Julio Le Parc: Form into Action - Instituto Tomie Ohtake, São Paulo Julio Le Parc: Bifurcations - Galerie Perrotin - Paris, Paris 2016 Form into Action, Perez Art Museum Miami (PAMM) Miami FL USA Premio Escultura Julio Le Parc, Fundación Fortabat, Puerto Madero, Argentina Presentación Variations autour de la longue marche, Maison des Carrés Hermès, Buenos Aires, Argentina Esfera Azul, Centro Cultural Kirchner (CCK), Buenos Aires, Argentina Julio Le Parc: Form->Action, Pérez Art Museum (PAM), Miami, FL, USA 2015 Variations autour de la longue marche, Maison des Carrés Hermès, Buenos Aires, Argentina Homenaje a Julio Le Parc, Biennal Curitiba: Luz do mundo, Museo Oscar Niemeyer, Curitiba, Paraná, Brazil Lumière en Mouvement: Julio Le Parc, Lexus Hybrid Art, Moscow, Russia Julio Le Parc: Lumière, Bildmuseet, Umeå University, Umeå, Sweden Instituto Inhotim, “Dias que parecem não passar”, palabras Julio Le Parc 2014 Inauguración Torsión I y Sphère Rouge, Brickell Avenue, Miami, FL, USA Julio Le Parc: A Kaleidoscopic, Serpentine Sackler Gallery, London, England Julio Le Parc: Lumière, Museo de Arte Latinoamericano de Buenos Aires Malba (MALBA), Buenos Aires, Argentina 2013 A Constant Quest, Galería Nara Roesler, São Paulo, Brasil Julio Le Parc, Palais de Tokyo, Paris, France Julio Le Parc Coleurs, Bugada & Cargnel, Paris, France Alchimies, Modulations, Torsions, Galerie Lélia Mordoch, Paris, France Julio Le Parc, Galerie Denise René, Paris, France Julio Le Parc: Multiples, Galerie de Multiples, Paris, France Le Parc Lumière: Kinetic Works by Julio Le Parc, Casa Daros, Rio de Janeiro, Brazil 2012 Nuit Blanche 2012: Obélisque en lumière Le Parc, Place de la Concorde, Paris, France Lumière en vibration, Espace Beaugrenelle, Paris, France 2011 L'œil du cyclope.
    [Show full text]
  • JULIO LE PARC Born 1928 in Mendoza, Argentina Lives
    JULIO LE PARC Born 1928 in Mendoza, Argentina Lives and works in Paris, France SELECTED EXHIBITIONS 2013 Le Parc Lumiére: Kinetic Works by Julio Le Parc, Casa Daros, Rio de Janeiro, Brazil Impressions | Abstractions, Sicardi Gallery, Houston, Texas Art Basel Miami Beach 2013, Sicardi Gallery Booth 605, Miami, Florida 2012 Real/Virtual, Arte Cinético argentino de los anos sesenta, Museo Nacional de Bellas Artes, Buenos Aires, Argentina. 2011 Suprasensorial: Experiments in Light, Color, and Space, Museum of Contemporary Art Los Angeles, California. USA The Armory Show, Modern 2011, Pier 92, Sicardi Gallery Booth 328, New York City 2010 Cinétique Optique Numérique 14 Propos[t]ons, Galerie Lavignes Bastille, Paris, France. Pinta Art Fair, Galerie Durban Senini, Galeria Nara Roesler, London, England. Le Bicentenaire de l’Indépendence de l’Argentine et de l’Amérique Latine, Galerie Jardin, Paris, France. Flat Lux, Museo de Arte Contemporaneo de gas natrural, La Coruna, Spain. MIART, Galerie Lella Mordoch, Milan, Italy Art Paris, Galerie Lella Mordoch, Grand Palais, Paris, France. Les vingt ans de la galerie, L’angolsse est-elle soluble dans l’art? Galerie Lella Mordoch, Paris, France. Art Basel, Galerie Denise René, Basel, Switzerland. AMERICA LATINA, El Colectivo, Maison d’Argentine, Paris, France. Asis, Cruz-Diez, De Barros, Esmeraldo, Le Parc, Tomasello, Soto, Sicardi Gallery, Houston, TX. Tekhne, Museu de Arte Brasileira – MAB-FAAP, Brazil. Vibracion, Moderne Kunst aus Latinamerika, Ella Fontanals – Cisneros Collection, Germany. Juste Une Etincelle, Maison des Artes de Baneux, France. FIAC, Galerie Denise René , Grand Palais, Paris, France. 2009 The Armory Show - Modern- Sicardi Gallery- New York, NY Argentine… Argentina - Galerie Lelia Mordoch- Paris, France Art Paris- Galerie Lelia Mordoch- Grand Palais- Paris, France MiArt- Galerie Lelia Mordoch- Milano, Italy Julio Le Parc- Blickmaschinen visual tactics or how pictures emerge- Budapest, Hungary.
    [Show full text]
  • Press Release
    press release Dynamo A century of light and motion in art, 1913-2013 10 april - 22 july 2013 Grand Palais Champs-Elysées entrance An exhibition organised by the Réunion des musées nationaux – Grand Palais. Notions of space, vision and light run through the abstract art of the 20th century and interest many world renowned contemporary artists such as Ann Veronica Janssens, Anish Kapoor, John Armleder, Carsten Höller, Philippe Decrauzat, Jeppe Hein, Felice Varini and Xavier Veilhan. By putting vibration along with the spectator’s perception in the centre of their works, they set up multiple resonances with optical and kinetic art, which first emerged at the Movement exhibition in Denise René’s Paris gallery in 1955, but also, more broadly, with what was later called “perceptual art” at the exhibition The Responsive Eye at the Museum of Modern Art in New York in 1965. In an unprecedented move, the whole of the Galeries nationales du Grand Palais, an area of about 3,700 square metres, has been made available for the exhibition, in order to present almost 150 artists, who contributed to the development of this approach over a hundred years or so. Outstanding among them are Julio Le Parc, François Morellet, Gianni Colombo, Jesús Rafael Soto, Dan Flavin, Hans Haacke, James Turrell, Yayoi Kusama, Victor Vasarely, Kenneth Noland, Jean Tinguely, Yaacov Agam, Tony Conrad, Pol Bury, Alexander Calder, Marcel Duchamp, Gerhard von Graevenitz, Christian Megert, Nicolas Schöffer, Bridget Riley, Dan Graham, Takis, Gregorio Vardanega, as group of artists such the GRAV (Group of visual Arts research), and the group Zero.
    [Show full text]