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 , 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, , 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 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 , 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 , 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.

2005 Le Parc participates in the exhibition Lumière et Mouvement at Musée d’Art Moderne de la Ville de Paris and has a major retrospective of his light pieces, titled Le Parc Lumière, at Daros Foundation Latin America in Zürich.

5 WORKS EXHIBITED AT ART BASEL 2014

Surfaces Julio Le Parc began to work on the paint- ing’s surface in 1958, with the aim of limiting as much as possible the expres- sion of the artist’s subjectivity on the can- vas. 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.

Contorsions The Contorsions are a prime example of optical art, due to the stark contrast between black and white, but also of kinetic art with the play on a shape in movement. The deformed metal ribbons – contiguous or intertwined circles, ver- tical or horizontal curves – on stripped, two-toned backgrounds, create a visual disturbance, or even the semblance of an illusion, for the viewer. These very simple devices, creating a slow and cyclical action, produce almost hypnotic works, recurrent in Le Parc’s production since the second half of the 1960s.

Déplacements At the beginning of the 1960s, Julio Le Parc decided to create works whose appearance would alter according to the viewer’s movements. The viewer is directly involved in the artist’s creative process, as his proximity to the work literally endows it with life. The chosen themes are very simple: geometric forms, whose uniform repetition improves the possible variations and deformations.

6 Mobiles With a great economy of means, the artist explores the notions of movement and instability. He relies on the reflec- tion of neighboring images and of light in movement on small forms made of Plexiglas or of metal, connected with threads. Through his immersive practice and by eliminating reference points, he alters our perception of space and our relation to it.

Lumière Julio Le Parc began to experiment with light in 1959. Originally, light was the means of giving a concrete form to several of his concerns, including the desire to create works in perpetual transformation. The result is ‘a constant and unpredictable game of light and shadow.’ For the artist, the aim of these incredibly beautiful yet simple works is to ‘initiate or pursue the destruction of traditional notions about art, its elabora- tion, presentation and appreciation.’

Surfaces-couleur In 1959, Julio Le Parc pursued his research on the paintings’ surface with color, to which he applied the same treatment as he had with shapes: he chose a unique scale of fourteen colors, which he has not modified to this day. He worked on several series of paintings that explored the almost infinite combinations of these colors. In 1971, Le Parc returned to painting, a practice he had abandonned since 1960. Similar to the rest of his works, each ‘target’ painting creates a minimalist and deductive structure where every new element stems from the previous one. It is systematically constituted of fourteen concentric circles of solid colours on a white background of a square canvas: according to a simple combinatory scheme, each one of the fourteen circles is painted in one of the fourteen colours of the spec- trum. Since the system continues from one work in the series to the next, each combination constitutes a new and unique painting.

7 Julio Le Parc exhibition view, Palais de Tokyo, Paris, 2013

8 Séquences progressives ambivalentes 1959 - 1970 acrylic on canvas 200 x 200 cm unique

Exhibited (selection) Literature (selection) • Julio Le Parc, Palais de Tokyo, Paris, February-May 2013 • Julio Le Parc, monograph, by Pierre Arnaud, • Julio Le Parc, Obras 1959-1981, Museo de Bellas Artes, Skira Flammarion, 2013, p. 120 Caracas, May-June 1981 • Julio Le Parc, monograph, by Pradel Jean-Louis, • Julio Le Parc, Recherches 1959-1971 – Untersuchungen, Ed. Severgnini, 2009, p. 302-303 Städtische Kunsthalle, Düsseldorf, January 21-February 27, • Julio Le Parc, Experiencias, 30 años, 1958-1988, 1972 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

9 Cercle en contorsion sur trame 1965 wood, motor, rhodoïd 123 x 125 x 20 cm 2nd of a set of 9 unique pieces. Only 2 were produced.

Exhibited (selection) Literature (selection) • G.R.A.V. : Groupe de recherche d’art visuel 1960-1968, • Julio Le Parc, monograph, by Pierre Arnaud, Le Magasin, Centre national d’art contemporain, Skira Flammarion, 2013, p. 172-173 Grenoble, June-September 1998 • Julio Le Parc, monograph, by Pradel Jean-Louis, • Julio Le Parc, Experiencias. 30 años, 1958-1988, Ed. Severgnini, 2009, p. 100 Secretaria de Cultura de la Nación, Dirección Nacional • Julio Le Parc, Luz e Movimento, exhibition catalog, de Artes, Buenos Aires, 1988 Pinacoteca do Estado de São Paulo, 2001, Ed. Pinacoteca, • Julio Le Parc, Obras 1959-1981, Museo de Bellas Artes, 2001, p. 75 Caracas, Venezuela, May-June 1981 • Stratégies de participation, G.R.A.V. – Groupe de • Julio Le Parc, Experiències 1959-1977, Fundació recherche d’art visuel, exhibition catalog, Centre d’art Joan Miró, Barcelone, 1978 contemporain de Grenoble, Grenoble, 1998, p. 59 • Julio Le Parc, Recherches 1959-1971 – Untersuchungen, • Julio Le Parc, Experiencias, 30 años, 1958-1988, Städtische Kunsthalle, Düsseldorf, 1972 exhibition catalog, Ed. Secrataria de Cultura de la Nación, • Julio Le Parc, Retrospective, Moderna Museet, Dirección Nacional des Artes Visuales, Buenos Aires, 1988, Stockholm, 1969 p. 39 • Julio Le Parc, Retrospective, Göteborg Konsthall, • Le Parc: La modulazione della luce, Coopedit Macerata, Göteborg, 1969 by Maurizi Elverio, 1980, p. 31 • Julio Le Parc, Retrospective, Henie-Onstad Kunstsenter, • Julio Le Parc, Recherches 1959-1971 – Untersuchungen, Oslo, 1969 Städtische Kunsthalle, Düsseldorf, 1972, p. 28-29 • Luz Espacio Movimiento. Obras de Julio Le Parc, • Julio Le Parc, exhibition catalog, Museo de Bellas Artes Palacio de Bellas Artes, Mexico City, 1968 de Caracas, 1967, p. 19-20 • Luz Espacio Movimiento. Obras de Julio Le Parc, • IX Bienal de São Paulo, São Paulo, exhibition catalog, Museo de Arte Moderno, Rio de Janeiro, 1968 1967, p. 33 • Argentinean Pavillon, IX Bienal de São Paulo, São Paulo, 1967 • Julio Le Parc, Retrospective, Instituto Di Tella, Buenos Aires, 1967; General Electric, Montevideo; Asuncion, 1967 • Julio Le Parc, Rétrospective, Museo de Bellas Artes, Caracas, 1967

10 Trame altérée 1965 wood, motor, hammered metal 60 x 60 x 60 cm; pedestal: 100 x 60 x 60 cm 3rd of a set of 9 unique pieces. Only 3 were produced.

Exhibited (selection) Literature (selection) • Julio Le Parc, Palais de Tokyo, Paris, February-May 2013 • Julio Le Parc, monograph, by Pierre Arnaud, • Julio Le Parc, Experiencias, 30 años, 1958-1988, Skira Flammarion, 2013, p. 53 Secretaria de Cultura de la Nación, Dirección Nacional • Julio Le Parc, monograph, by Pradel Jean-Louis, de Artes, Buenos Aires, 1988 Ed. Severgnini, 2009, p. 91 • Julio Le Parc, Obras 1959-1981, Museo de Bellas Artes, • Julio Le Parc, Experiencias, 30 años, 1958-1988, Caracas, May-June 1981 exhibition catalog, Ed. Secrataria de Cultura de la Nación, • Experiències 1959-1977, Fundació Joan Miró, Dirección Nacional des Artes Visuales, Buenos Aires, 1988, Barcelone, 1978 p. 35 • Julio Le Parc, Retrospective, Moderna Museet, • Le Parc, Cuadernos Guadalimar n°3, Ediciones Rayuela, Stockholm, 1969 1977, p. 56 • Julio Le Parc, Retrospective, Göteborg Konsthall, • Groupe de recherche d’art visuel 1960-1968, G.R.A.V., Göteborg, 1969 exhibition catalog, Lago di Como, Electa Editrice, • Julio Le Parc, Retrospective, Henie-Onstad Kunstsenter, by Birelli Diego, 1975, p. 102 Oslo, 1969 • Julio Le Parc, exhibition catalog, Museo de Bellas Artes • Luz Espacio Movimiento. Obras de Julio Le Parc, de Caracas, Caracas, 1967, p. 6, fig. 14 Palacio de Bellas Artes, Mexico City, 1968 • IX Bienal de São Paulo, São Paulo, exhibition catalog, • Luz Espacio Movimiento. Obras de Julio Le Parc, p. 30 Museo de Arte Moderno, Rio de Janeiro, 1968 • XXXIII Venice Biennial, exhibition catalog, Venice, 1966 • Argentinean Pavillon, IX Bienal de São Paulo, São Paulo, 1967 • Julio Le Parc, Retrospective, Instituto Di Tella, Buenos Aires, 1967; General Electric, Montevideo; Asuncion, 1967 • Julio Le Parc, Retrospective, Museo de Bellas Artes, Caracas, Venezuela, 1967 • Argentinean Pavillon, IX Bienal de São Paulo, São Paulo, 1967 • Argentinean Pavillon, XXXIII Venice Biennial, Venice, June-October 1966

11 Continuel-Mobile 1963 exhibition view, Biennale de Paris, 1963

12 Mobile noir sur noir 1960 acrylic glass, painted wood, metal and nylon thread 153 x 153 x 12 cm 2nd of a set of 9 unique pieces. Only 2 were produced.

Exhibited (selection) Literature (selection) • Julio Le Parc, Obras 1959-1981, Museo de Bellas Artes, • Julio Le Parc, monograph, by Pradel Jean-Louis, Caracas, May-June 1981 Ed. Severgnini, 2009, p. 74 • Experiències 1959-1977, Fundació Joan Miró, • Julio Le Parc, Recherches 1958-1988, Michael Galerie, Barcelone, 1978 Darmstadt, 1992, p. 37 • Argentinean Pavillon, XXXIII Venice Biennial, Venice, • Le Parc représente la République Argentine à la XXXIIIe June-October 1966 Biennale de Venise 1966, Ed. Denise René

13 Continuel-lumière avec 49 cylindres vitesse rapide 1967 - 2012 wood, motor, plastic, light sources 250 x 200 x 52 cm 2nd of a set of 9 unique pieces. Only 2 were produced.

Exhibited (selection) Literature (selection) • Le Parc Lumière. Kinetic works by Julio Le Parc • Julio Le Parc Kinetic Works, exhibition catalog, Casa Daros, in the Daros Latinamerica, Casa Daros, Rio de Janeiro, Rio de Janeiro, Ed. Katrin Steffen and Hans-Michael Herzog, October 2013-February 2014 Daros Latinamerica AG, Hatje Cantz, 2013, cover, p. 95-99 • Julio Le Parc, Palais de Tokyo, Paris, February-May 2013 • Julio Le Parc, monograph, by Pierre Arnaud, • Le Parc Lumière. Luz en movimento, Banco de la República Skira Flammarion, 2013, p. 44 de Colombia, Biblioteca Luis Ángel Arango, Bogotà, • Julio Le Parc, monograph, by Pradel Jean-Louis, July 25-October 22, 2007 Ed. Severgnini, 2009, p. 114 • Le Parc Lumière. Obras cinéticas de Julio Le Parc • Le Parc Lumière: Kinetic Works by Julio Le Parc, Daros de la colección Daros Latinamerica, Zürich, Laboratorio Exhibitions, Daros Latinamerica / Ostfildern, Hatje Cantz, Arte Alameda, México D.F., April-August 2006 with texts by Sebastián López, Hans-Michael Herzog, • Le Parc Lumière. Kinetic Works by Julio Le Parc, Ruth Schmidheiny, 2005, fig. 4 Daros Museum, Zürich, June-October 2005 • Julio Le Parc. Luz e movimento, exhibition catalog, • Julio Le Parc. Luz e movimento, Pinacoteca do Estado Centro Dragão de Mar de Arte e Cultura, Museu de Arte de São Paulo, São Paulo, May-July 2001 Contemporânea de Ceará, Fortaleza, 2001, p. 41 • Julio Le Parc en el Museo Nacional de Bellas Artes, • Julio Le Parc. Dialogando con la luz, exhibition catalog, National Museum of Fine Arts, Buenos Aires, March 2000 Espacio Contemporáneo de Arte, Subsecretaria de Cultura – • Julio Le Parc. Dialogando con la luz, Espacio Contemporáneo Gobierno de Mendoza, Mendoza, p. 14 de Arte, Mendoza, 2000 • Julio Le Parc. Arte e Tecnologia, II Bienal do Mercosul, • Espaço Julio Le Parc. Experiencias de 1959 a 1999, II Bienal Porto Alegre, exhibition catalog, with texts by Leirner Sheila do Mercosul, Porto Alegre, November 1999-January 2000 and Domingues Diana, Fundação Bienal de Artes Visuais • Julio Le Parc: les années lumière, Espace Electra, do Mercosul, 2000 Fondation Électricité de France, Paris, March-April 1996 • Julio Le Parc en el Museo Nacional de Bellas Artes, • Experiències 1959-1977, Fundació Joan Miró, Barcelone, 1978; Museo Nacional de Bellas Artes, Buenos Aires, 2000, p. 21 Musée de la Résistance Salvador Allende à Nancy, Avignon, • Julio Le Parc, Experiencias, 30 años, 1958-1988, exhibition Nanterre et Châtillon, 1977 catalog, Ed. Secrataria de Cultura de la Nación, Dirección • Recherches 1959-1971 – Untersuchungen, Städtische Nacional des Artes Visuales, 1988, p. 52 Kunsthalle, Düsseldorf, 1972 • Julio Le Parc, Retrospective, Moderna Museet, Stockholm, 1969 • Julio Le Parc, Retrospective, Göteborg Konsthall, Göteborg, 1969 • Julio Le Parc, Retrospective, Henie-Onstad Kunstsenter, Oslo, 1969 14 Continuel-lumière avec formes en contorsion 1966 wood, motor, plastic, light 152 x 122 x 27 cm 1st of a set of 9 unique pieces. Only this piece was produced.

Exhibited (selection) Literature (selection) • Erre, Variations labyrinthiques, Centre Pompidou-Metz, • Mouvement lumière participation, G.R.A.V. 1960-1968, Metz, September 2011-March 2012 exhibition catalog, Musée des Beaux-arts de Rennes, Ed. Galerie • Julio Le Parc, Obras 1959-1981, Museo de Bellas Artes, Art & Essai et Musée des Beaux-arts de Rennes, 2013, p. 127 Caracas, May-June 1981 • Erre, Variations labyrinthiques, exhibition catalog, Centre • Julio Le Parc, Recherches 1959-1971 – Untersuchungen, Pompidou-Metz, Ed. Centre Pompidou-Metz, 2011, p. 162 Städtische Kunsthalle, Düsseldorf, January 21-February 27, • Julio Le Parc, Il Cinetismo, Attualita e storia a confronto, 1972 exhibition catalog, Palazzo Ducale, Urbino, 2003, p. 40 • Luz Espacio Movimiento. Obras de Julio Le Parc, • Julio Le Parc. Dialogando con la luz, exhibition catalog, Palacio de Bellas Artes, Mexico City, 1968 Espacio Contemporáneo de Arte, Subsecretaria de Cultura – • Luz Espacio Movimiento. Obras de Julio Le Parc, Gobierno de Mendoza, Mendoza, with a text by Sheila Leirner, Museu de Arte Moderna, Rio de Janeiro, 1968 2000, p.15 • Le Parc, Galerie Denise René, November-December 1966 • Julio Le Parc en el Museo Nacional de Bellas Artes, • Argentinean Pavillion, XXXIII Venice Biennial, Venice, Museo Nacional de Bellas Artes, Buenos Aires, 2000, p. 20 June – October 1966 • 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. 53 • Catálogo General. Colección pintura y escultura latino- americana, Museo de Bellas Artes, 1979 • Julio Le Parc, Recherches 1959-1971 – Untersuchungen, Städtische Kunsthalle, Düsseldorf, 1972, p. 38-39 • Participation – à la recherche d’un nouveau spectateur. Groupe de recherche d’art Visuel, exhibition catalog, Museum am Ostwall, Dortmund, 1968, p 30-31 • Le Parc, exhibition catalog, Museo de Bellas Artes de Caracas, Caracas, 1967, p.12

15 Lumières alternées 1963 - 1993 wood, motor, metal, light 600 x 400 x 40 cm 2nd of a set of 9 unique pieces. Only 2 were produced.

16 Lumières alternées 1963 - 1993 wood, motor, metal, light 600 x 400 x 40 cm 2nd of a set of 9 unique pieces. Only 2 were produced.

Exhibited (selection) • Dynamo, un siècle de lumière et de mouvement dans l’art, • Le Parc Lumière. Kinetic works by Julio Le Parc in the Daros 1913-2013, exhibition catalog, Grand Palais, Paris, Latinamerica, Casa Daros, Rio de Janeiro, October 2013- by Lemoine Serge, 2013, p. 246 February 2014 • Erre, Variations labyrinthiques, exhibition catalog, Centre • Erre, Variations labyrinthiques, Centre Pompidou-Metz, Pompidou-Metz, Ed. Centre Pompidou-Metz, 2011, p. 162 September 2011-March 2012 • Al Calor der Pensamiento, Obras de la Daros Latinamerica • Julio Le Parc, Palais de Tokyo, Paris, February-May 2013 Collection, exhibition catalog, Daros Latinamerica Collection, • Al calor del pensamiento. Works from the Daros Latinamer- Edition Fundacion Banco Santander, Madrid, Daros Latina- ica Collection, Sala de Arte Santander, Exposiciones Boadilla, merica AG, Zürich, 2010, p. 131 Fundación Banco Santander, Madrid, February-April, 2010 • Julio Le Parc, monograph, by Pradel Jean-Louis, • Le Parc Lumière – Luz en movimiento, Banco de la República Ed. Severgnini, 2009, p. 302-303 de Colombia, Biblioteca Luis Ángel Arango, Bogotá, • Le Parc Lumière: Kinetic Works by Julio Le Parc, Daros July-October 2007 Exhibitions, Daros Latinamerica / Ostfildern, Hatje Cantz, • Le Parc Lumière. Obras cinéticas de Julio Le Parc with texts by Sebastián López, Hans-Michael Herzog, de la colección Daros Latinamerica, Zürich, Laboratorio Arte Ruth Schmidheiny, 2005, fig. 17 and p. 182 Alameda, México D.F., April-August 2006 • Julio Le Parc. Luz e movimento, exhibition catalog, • Le Parc Lumière. Kinetic works by Julio Le Parc, Centro Dragão de Mar de Arte e Cultura, Museu de Arte Daros Museum, Zürich, JuneOctober 2005 Contemporânea de Ceará, Fortaleza, 2001, p. 60 • Espaço Julio Le Parc, Experiencias de 1959 à 1999, II Mercosul • Julio Le Parc. Dialogando con la luz, exhibition catalog, Biennial, Porto Alegre, November 1999-January 2000 Espacio Contemporáneo de Arte, Subsecretaria de Cultura – • Les années lumières, Espace Electra, Fondation Électricité Gobierno de Mendoza, Mendoza, 2000, p. 9 de France, March 27-April 28, 1996 • Julio Le Parc. Arte e Tecnologia, II Mercosul Biennial, Porto Alegre, exhibition catalog, with texts by Leirner Sheila and Domingues Diana, Fundação Bienal de Artes Visuais Literature (selection) do Mercosul, 2000 • Julio Le Parc Kinetic Works, exhibition catalog, Casa Daros, • Julio Le Parc en el Museo Nacional de Bellas Artes, Rio de Janeiro, Ed. Katrin Steffen and Hans-Michael Herzog, Museo Nacional de Bellas Artes, Buenos Aires, 2000, p. 31 Daros Latinamerica AG, Hatje Cantz, 2013, p. 132-135 • Julio Le Parc, monograph, by Pierre Arnaud, Skira Flammarion, 2013, p. 123

17 Surface couleur - Série 14 n°5E 1971 acrylic on canvas 171 x 171 cm unique

Exhibited (selection) Literature (selection) • Le Parc, Antes Y Después de Lumière, Galeria • Julio Le Parc, monograph, by Pierre Arnaud, La Cometa, Bogotà, July-August 2007 Skira Flammarion, 2013, p. 45 • Julio Le Parc. Dialogando con la luz, Espacio • Le Parc, Antes Y Después de Lumière, exhibition catalog, Contemporáneo de Arte, Mendoza, 2000 Galeria La Cometa, 2007, p. 50 • Espaço Julio Le Parc. Experiencias de 1959 a 1999, • Julio Le Parc. Arte e Tecnologia, exhibition catalog, II Bienal do Mercosul, Porto Alegre, November 1999- II Mercosul Biennial, Porto Alegre, Fundação Bienal January 2000 de Artes Visuais do Mercosul, 2000 • Le Parc, Cuadernos Guadalimar n°3, Ediciones Rayuela, Madrid, 1977, p. 46 • Julio Le Parc, Dialogando con la luz, exhibition catalog, Espacio Contemporaneo de Arte, Subsecretaria de Cultura – Gobierno de Mendoza, Mendoza, p. 3

18 Couleurs exhibition view, Galerie Bugada & Cargnel, Paris, 2013

Continuel Mobile - Sphère Rouge is composed of almost three thousand red translucent square-shaped elements Next page: drawing the impressive shape of a 5 meter wide sphere in Continuel Mobile - Sphère rouge the air. With a great economy of means, the artist explores 2001 - 2013 the notions of movement and instability. He relies on the red plexiglas, steel threads, aluminium, painted wood reflection of neighboring images and of light in movement sphere : 520 x 520 x 520 cm on small forms made of Plexiglas, connected simply with 2nd of a set of 9 unique pieces. Only 2 were produced. strings. Through his immersive practice and by eliminating reference points, he alters our perception of and our relation to the scale of the space. Exhibited (selection) The numerous translucent elements are set into motion • Julio Le Parc, Palais de Tokyo, Paris, February-May 2013 by the tiniest change in the air currents. Light is trapped in • Inauguration, Espacio Cultural Julio Le Parc, Mendoza, 2012 the structure, multiplied and diffused in every direction. The beams of light are projected throughout the exhibition hall, Literature (selection) turning it into a panoptic screen. • Julio Le Parc, monograph, by Pierre Arnaud, Initiated in the early 1960s, the artist describes the series Skira Flammarion, 2013, p. 123 Continuel Mobiles as a major step in his search for an open work of art: “it helped me resolve the problem that preoc- cupied me: the diversity of situations, in one experience, the notion of movement, the instability and the probability, the outside contingences of the work and the will to move away from the notion of a stable and definitive work.”

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