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Entrevista De Hans Ulrich Obrist Com Julio Le Parc Hans Ulrich Obrist and Julio Le Parc: an Interview

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Entrevista De Hans Ulrich Obrist Com Julio Le Parc Hans Ulrich Obrist and Julio Le Parc: an Interview Entrevista de Hans Ulrich Obrist com Julio Le Parc Hans Ulrich Obrist and Julio Le Parc: an interview HUO: O senhor preparou uma grande exposição no Palais de Tokyo, bem como um livro sobre o seu trabalho. O senhor já tinha trabalhado com livros de artistas antes? JLP: Eu fiz um pequeno livro mas não sei se se trata realmente de um livro de artista... Uma histo- rieta, vou mostrá-lo a você... É um livro para o qual eu fiz os desenhos e os textos. E estes desenhos são quase animações... Sim, em seguida meu filho Gabriel fez um filme. O texto retoma reflexões iniciadas há bastante tempo. Depois eu preparei uns slides que eu projetava nas exposições, e continuei a trabalhar desta forma em torno do texto, até que ele fosse editado. HUO: You have prepared a major exhibition at the Palais de Tokyo, as well as a book about your work. Have you worked on artists’ books before? JLP: I made a small book but am not sure whether it’s really an artist’s book... It’s a little story, I’ll show it to you... It’s a book to which I prepared the drawings and the texts. And these drawings are almost animations... Yes, and after that my son Gabriel made a film. The text resumes reflections made a long time ago. Then I prepared some slides that I used in the exhibitions, and I continued to work in this fashion around the text, until it was edited. And this title, Storyette? Because it’s like a little story, although slightly satirical, not a true story. A satirical story about society and the world of art? Yes, about artists, their questions, the art market... They’re reflections that I’ve been bringing along for a long time.... Is there an animation, a film made after this book? Yes, we’ve made a video with my illustrations, characters and texts. In fact, the origin of Storyette dates back to the 50s, when you were a student at the School of Fine Arts in Buenos Aires, and you actively participated in the student movement.. You say here: 46 E por que este título, Historieta? Quando eu era criança eu me entediava um pou- Porque é como uma história, mas um pouco co na escola primária, a gramática, os deveres não satírica, não uma história de verdade... me interessavam muito... Eu só me sentia bem quando a professora da escola me pedia para de- Uma história satírica sobre o mundo da arte e senhar heróis da república no quadro negro, na a sociedade? época das festas nacionais. Eu me virava bem nos Sim, sobre os artistas, suas interrogações, o desenhos, e uma professora disse à minha mãe mercado de arte... São reflexões que me acom- uma vez, que eu deveria ser orientado em dire- panham desde muito tempo... ção à arte. E depois, o tempo passou... Foi durante a minha infância em Mendoza; Mendoza é longe, Existe uma animação, um filme feito a partir fica a 1000-1200 km de Buenos Aires, ao pé da cor- deste livro? dilheira dos Andes. Quando chegamos em Buenos Sim, com minhas ilustrações, meus persona- Aires com minha mãe, encontraram para mim um gens e textos, nós fizemos um vídeo. trabalho como aprendiz para que a família pu- desse ganhar um pouco de dinheiro. Eu tinha na Na verdade, a origem da Historieta remonta aos época algo como 14 anos. Um dia passamos ao anos 50, quando o senhor era estudante na Es- lado da Academia de Belas Artes, que era perto cola de Belas Artes em Buenos Aires, quando o de nossa casa, e minha mãe se lembrou do que a senhor participava ativamente do movimento professora havia dito. Fomos nos informar, ver o estudantil. O senhor diz aqui: “nós ocupáva- que era possível ser feito. Nos explicaram que an- mos as escolas dia e noite”, etc. Mas comece- tes de entrar na Academia, era necessário passar mos pelo início, eu sempre tive curiosidade com por uma escola preparatória. algo: de que forma o senhor chegou até a arte? Então fomos ao local específico onde nos prepa- Foi a arte que veio até o senhor? Ou existe uma ravam para exames de acesso à escola preparató- espécie de epifania, um súbito despertar? ria. Comecei a fazer aulas e foi ali que aconteceu “We occupied schools day and night”, etc... But said. We went there after information, to see let’s start from the beginning. I’ve been always what could be done. We were explained that curious about something: how did you get before entering the Academy, it was necessary started in art? Was art that found you? Or is to go through a preparatory school. there a kind of epiphany, a sudden awakening? Then we went to the specific place of prepara- When I was a child, I used to feel a little bored tion for exams of admission to the preparatory at the elementary school; grammar and home- school. I started having classes and then there work were not interesting to me.... I only felt was an “epiphany” as you said. We needed to fine when the teacher asked to draw republic make a drawing with charcoal on Ingres paper, heroes on the board at the time of national which requires technique, I had to know how to parties. I did well in drawing, and the teach- draw a piece of architecture, from plaster, then er once told my mom that I should be guided I had an insight and told myself that this was towards art. Then, time went by... It was during what I wanted to do. I was 14 years old. I was my childhood in Mendoza; Mendoza is far so happy, it was the first time I put my name away, 1,000-2,000 kilometers distant from Bue- at the bottom of a work. And among the older nos Aires, at the bottom of the Andes. When we students, someone who was very nice taught arrived in Buenos Aires with my mom, I start- me my first art lesson, suggesting that I should ed to work as an apprentice so that my family erase my signature. The most important thing, could have some money. I was 14 years old at according to him, was our drawing, not our sig- that time. One day, as I passed by the Acade- nature. He has not changed much, but I soon my of Fine Arts, which stood near our home, understood it. Even though, in the world of art, my mom reminded me of what the teacher had signature prevails... 47 uma “epifania”, como você falou. Precisávamos durante o dia numa pequena usina, e à noite ia fazer um desenho com carvão em papel Ingres, para a escola preparatória. isso demanda toda uma técnica, tinha que saber desenhar uma peça de arquitetura, a partir de um Quando lemos o texto que o senhor escreveu gesso, e eu senti um estalo, e disse a mim mes- para Historieta, o senhor diz que na época rei- mo que era aquilo que eu queria fazer. Eu tinha nava um “clima de contestação”... 14 anos. Estava tão feliz, era a primeira vez que Ah, foi mais tarde… eu colocava meu nome no rodapé de uma obra. E um dos alunos mais velhos, alguém muito bom, Em qual momento exatamente? me deu, então, minha primeira lição artística, me Em 1953. Mas nos anos 40, quando ingressei na es- sugerindo que apagasse minha assinatura, pois cola de Belas Artes, havia em Buenos Aires o gru- o importante era, segundo ele, aquilo que dese- po Arte Concreta–Invenção, que eu achava muito nhamos e não a assinatura. Ele não evoluiu mui- interessante. Mas eu estava na escola preparatória, to, mas eu logo entendi. Mesmo que depois, no uma escola acadêmica onde continuávamos dese- mundo da arte, o que predomina é a assinatura..… nhando coisas em gesso, figuras, cópias de grandes esculturas gregas, o Davi de Michelangelo, etc.. Com Uma nova epifania, em certo sentido.... os meus amigos da escola, nós íamos assistir à ex- Sim, exatamente. Eu então apaguei minha as- posições, visitar museus. Nós queríamos ver tudo, sinatura e continuei a desenhar, e eu não que- conhecer tudo. Paralelamente a esta descoberta do ria fazer mais nada além disso. Continuei com movimento Arte Concreta-Invenção, no segundo ou minhas aulas enquanto trabalhava durante o terceiro ano de escola, tivemos como professor Lu- dia. Pude me preparar para o exame, e tive a cio Fontana, um artista argentino, mesmo que todos oportunidade de ser aceito na escola, não foi pensem que ele é italiano. Ele era professor e eu fa- todo mundo que pôde. Continuei trabalhando zia parte de seus alunos do curso noturno. A new epiphany, in a way.... lo’s David etc.... Along with my school mates, Yes, precisely. Then I erased my signature I would attend exhibitions, visit museums. We and continued to draw, and I didn’t feel like wanted to see everything, know everything. In doing anything else. I continue with my parallel to this movement of the breakthrough classes while I worked during the day. I was of Concrete Art, in the second or third year of able to prepare myself for the exam, and was school, we had a professor named Lucio Fon- admitted to school, whereas not everyone tana, an Argentine artist, even though every- was. I kept working during the day at a small one thought he was Italian. He was a professor mill, and would go to the prepartory school and I was one of his evening students.
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