Suddenly, galleries were taking an interest; he got his first solo show in Paris at Denise René that same year.
On the walls and stacked on shelves are the paintings, similarly joyful profusions of abstract forms – circles, squares, lines that curve and make loops, sometimes across multiple panels. Blue and red mobiles, made up of hundreds of tiny squares of Plexiglas strung together with nylon thread, hang from the ceilings like disco balls. It’s a picture of the new strain of coronavirus, created earlier this year by medical illustrators at the Centers for Disease Control and Prevention. Then again, Le Parc has never been afraid of venturing in uncharted directions; he describes himself to me as an ‘experimentalist’.Born in 1928 to a working-class family in Mendoza, a city at the foothills of the Andes, Le Parc started working – as a newspaper delivery boy, at a crate-making factory – at the age of 13. ‘No, a little video. The clip-on shades of his glasses cast a slight shadow across his face, but I can see that he is smiling, evidently quite amused by this novel set-up. An uncompromising personality, in 1972 he refused to hold a retrospective exhibition at the Musée d’Art Moderne de la Ville de Paris, after flipping a coin to make the decision. [Visual Art Research Group] and recipient of the Grand Prize for Painting at the 33rd Venice Biennale in 1966, Julio Le Parc (b. Julio Le Parc (born September 23, 1928) is an Argentina-born artist who focuses on both modern op art and kinetic art. Spazialismo, along with the Concrete art movement that also emerged in the mid 1940s, had a strong influence on Le Parc – as did the politically charged atmosphere at the schools, where there were continual strikes and protests against the repressive regime of Juan Perón, elected as president in 1946.
It is here, in late March, that he is now sequestered as a result of the coronavirus lockdown, and which has also meant that the exhibition we are supposed to be discussing, a survey of new and historic work that was supposed to open in April at Perrotin in New York, has been postponed until at least the autumn.Still, Le Parc continues to work (‘today, yesterday, the day before’) in the large, light-filled atelier that adjoins his family quarters. Eli Le Parc is a French artist, born in Panama in 1954. Is he making some kind of sculpture?
In 1961 he cofounded the Groupe de Recherche d’Art Visuel (GRAV) – a rebranding of the Centre de Recherche d’Art Visuel, formed the previous year – together with García Rossi, Sobrino, Demarco, and the French artists François Morellet, Joël Stein and Jean-Pierre Yvaral. A founding member of Groupe de Recherche d’Art Visual (GRAV) and award-winning artworks, he is … Archivio di Stato / Palazzo del Senato. A defender of human rights, he fought against dictatorship in Latin America. At one point, in what he has previously described as a fit of ‘confused’ teenaged rebellion, Le Parc quit his studies and went hitchhiking across Argentina, ‘liv[ing] a bit on the margins […] hanging out with anarchists and Marxists’. He has not been content simply to ride this wave, or to limit himself to his existing range of materials. Le Parc attended the School of Fine Arts in Argentina. 1928 in Argentina, lives and works in Cachan) is a major figure of art history. L'autenticità di quest'opera è stata confermata verbalmente dall'Atelier Le Parc, Cachan. The exhibition illustrates the extent to which the work of this artist, still young at 84 years of age, remains current, to convey his spirit of investigation and experimentation, and to allow the public to discover, or rediscover, his generous, playful and visionary work. First with six colours, then 10, and then 12 and in the end I stuck with a range of 14 colours that enabled me to create more permutations.’ Since 1959, these 14 colours (along with black, grey and white) are the only shades that have appeared in Le Parc’s work.
One of Le Parc’s assistants, Eduardo Berrelleza, has already given me a live video tour of this space. In the short term at least, Le Parc’s studio is without its usual occupants (he has a team of some 12 assistants) but he is nevertheless revisingJulio Le Parc, photographed in his studio in Cachan in February 2020 by Claire DornThe artist discusses his unorthodox methods, his long partnership with the late Jeanne-Claude, and finally being allowed to wrap the Arc de TriompheFrom Calder to Kusama, modern and contemporary artists have created many different versions of kinetic artSome artists, such as Ilya Kabakov and Caroline Walker, are finding solace in their work – when not distracted by fears about the post-pandemic futureJust a light note. Eventually he returned to school (now the Escuela Superior de Bellas Artes), where he threw himself into student organising, a role that earned him a reputation among school officials as a troublemaker.For an artist so concerned with systematisation and the fixing of parameters, Le Parc’s body of work is also deeply varied. ‘I think that what we proposed was more or less confirmed by the May ’68 movement, both at the level of students and at the level of industry, of workers, of employees, of institutions, of strikes.
On the tables there are sheets of paper: sketches annotated with words and figures, precisely planned maps to future projects. After, she obtained a degree in Graphic Arts at the University of Panama. 2004 . The socially conscious artist was expelled from France in May 1968, after participating in the Atelier Populaire and its protests against major institutions. It’s practically a museum, offering a comprehensive survey of the artist’s six decades of experiments with colour, movement, light, space and perception.
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