julio le parc
modulación 1116, 2003 / 2013
acrylic on canvas
200 x 200 cm

Julio Le Parc (b. 1928, Mendoza, Argentina) lives and works in Paris, France. Le Parc attended the Escuela de Bellas Artes in Buenos Aires in 1943 where he became interested in Arte Concreto-Invencion and the Spaziliasmo movement. In 1958, Le Parc went to Paris on a French government scholarship and settled there working on works of art related to research into three dimensions, movement and light as it pertains to the kinetic arts. Victor Vasarely’s 1958 exhibition in Buenos Aires became an important catalyst for Le Parc’s career, while in Paris Le Parc pursued collaborative work with fellow artist friends of Vasarely and studied the writings of Mondrian, evolving his practice to reflect on the tradition of Constructivism. Le Parc represented Argentina at the 1966 Venice Biennale, he won the Grand International Prize for Painting as an individual artist. Le Parc had begun working on two-dimensional compositions in color and black and white as early as 1953, while he was still an art teacher in Buenos Aires. From 1960, however, he began to develop a series of distinctive works that made use of ‘skimming’ light: these objects, usually constructed with a lateral source of white light which was reflected and broken up by polished metal surfaces, combined a high degree of intensity with a subtle expression of continuous movement.


Celebrated for what he calls “disturbances in the artistic system,” Julio Le Parc is among the progenitors of the Op Art, or Kinetic Art, movement, who posits a utopian vision for art and society through his perceptually illusory paintings, sculptures, and immersive installations. As co-founder of the Groupe de Recherche d’Art Visuel (Visual Art Research Group) (1960-68), he worked to break down the boundaries between art and the viewer. In his words: “I have tried […] to elicit a different type of behavior from the viewer […] to seek, together with the public, various means of fighting off passivity, dependency or ideological conditioning, by developing reflective, comparative, analytical, creative or active capacities.” Parc accomplishes this through color, line, light, shadow, and movement, composed to make still forms seem to move, solid structures seem to dematerialize, and light itself seem plastic.


Le Parc’s works have been the subject of numerous solo shows in Europe and Latin America, including Instituto di Tella (Buenos Aires), Museo de Arte Moderno (Caracas), Palacio de Bellas Artes (Mexico), Casa de las Americas (Havana), Moderna Museet (Stockholm), Daros (Zürich), Städtische Kunsthalle (Düsseldorf). Le Parc’s works have also been included in numerous group exhibitions and biennials, including MoMA’s controversial exhibition The Responsive Eye (1965), the Venice Biennale in 1966 (where he was awarded the Prize), and the São Paulo Biennial (1967). As acts of protest against the repressive military regime in Brazil, he joined artists in boycotting the 1969 São Paulo Biennial and published an alternative Contrabienal catalogue in 1971. Le Parc’s later collective works included participation in anti-fascist movements in Chile, El Salvador and Nicaragua. Recently, he has been the subject of major retrospectives including Julio Le Parc (Serpentine Gallery, London, UK, 2014); Soleil froid (Palais de Tokyo, Paris, France); Le Parc lumière (Casa Daros, Rio de Janeiro, Brazil, 2013; MALBA, Bueno Aires, Argentina, 2014); A constant quest (Galeria Nara Roesler, São Paulo, Brazil, 2013); and included in the group exhibition Dynamo (Grand Palais, Paris, France, 2013).



  • at 90, this artist is still opening doors of perception Download View article

    at 90, this artist is still opening doors of perception

    holland cotter, the new york times 24.1.2019
  • julio le parc: 'nada na minha obra está fechado em um ciclo' Download

    julio le parc: 'nada na minha obra está fechado em um ciclo'

    Nelson Gobbi, O Globo 28.9.2018
  • julio le parc, serpentine gallery, london - interview Download

    julio le parc, serpentine gallery, london - interview

    Edwin Heathcote, Financial Times 7.1.2015
  • julio le parc, artist: Download

    julio le parc, artist: "i was attacking the idea of the extraordinary artist"

    Karen Wright, The Independent 28.11.2014
  • obras de le parc Download

    obras de le parc "vivirán" en miami

    Marcos Álvarez, Los Andes 20.11.2014
  • julio le parc Download

    julio le parc

    Frank Expósito, ArtForum 14.2.2014
  • julio le parc, le grand illusionniste Download

    julio le parc, le grand illusionniste

    Élisabeth Vedrenne, Counnaissance des Arts 4.4.2013
  • lumiere et mouvement Download

    lumiere et mouvement

    Anael Pigeat, Art Press 1.4.2013
  • le spectateur devrait resister, reagir Download

    le spectateur devrait resister, reagir

    Quotidien de L'Art 25.2.2013
  • visite au maître des lumières Download

    visite au maître des lumières

    Bernard Genies, Le Nouvel Observateur 21.2.2013
  • julio le parc: retour en pleine lumière Download

    julio le parc: retour en pleine lumière

    Valérie Duponchelle, Le Figaroscope 13.2.2013
  • des mois d'hallucinations en boucle Download

    des mois d'hallucinations en boucle

    Emmanuelle Lequeux, Beaux Arts 17.1.2013
  • julio le parc - a revolution with all the lights on Download

    julio le parc - a revolution with all the lights on

    Marcela Costa Peuser e Laura Batkis, Arte Al Día Internacional 3.3.2006
  • le parc faz retrospectiva em duas exposições Download

    le parc faz retrospectiva em duas exposições

    Adriana Fernandes Farias, Gazeta Mercantil 7.5.2001
  • o mestre da luz Download

    o mestre da luz

    Fabio Cypriano, Ilustrada 7.5.2001
  • políticas visuais de um militante Download

    políticas visuais de um militante

    Gilberto de Abreu, Jornal do Brasil 6.5.2001

Texto Crítico

  • “Quem pode se interessar pelo que algumas crianças pensam sobre uma exposição?”[1]

    Rodrigo Moura
    A resposta a essa pergunta tem o nome de seu formulador: Julio Le Parc. Desde que sua obra surgiu no meio da arte internacional, no fim dos anos 1950, em Paris, Le Parc é defensor de uma espécie de democracia nas artes. Como forma de aplicar sua formação marxista, com seus valores pró-participação e pró-emancipação, ele pensa que, na arte como na política, todo poder emana do povo e em seu nome será exercido. E nesse sentido, ninguém melhor do que as crianças para se afetarem, opinarem e fazerem a roda do tempo girar. “É proibido não participar. É proibido não tocar. É proibido não quebrar.” Assim proclamava o pioneiro manifesto do GRAV (Groupe de Récherche d’Art Visuel), em outubro 1963[2] . Neste credo, um tanto idealista, a arte tem a capacidade de ativar o potencial libertário de cada um de nós por simplesmente despertar nossas faculdades perceptivas. A pura forma se torna assim política, e faz emergir com força a noção de espectador, como êmulo do eleitorado...