Page 94 - ARTE!Brasileiros #41

WILD TALES ENGLISH VERSION

art. Le Parc works bright games, creating plans and award for painting, 33rd Venice Biennale in 1966. With
studying gravitations with drawings that provoke a certain the dissolution of the collective GRAV in 1968, Le Parc
visual frenzy. His poetic attitude remains independent, continues working individually and with international
since the time he was connected to the GRAV Group collective. Engages in political activism and denounces
(Groupe de Recherche Visuel dArt), created in 1960, in totalitarian political regimes. Amidst the turmoil of May
Paris. During a presentation at the Albright-Knox Museum, 1968 he is kicked out of Paris for its activities with other
Buffalo, the collective repeats what he had already stated Latin American artists, and for your coverage on the
in 1961, in it’s creation: “Stop mystification. Current art Argentine collective Tucuman Arde, one of the most
is a great bluff “. important in Latin America.
The retrospective is divided into three cores that reveal Le Parc always acted with firmness on several fronts.
various implications and possibilities to map production The curator Estrellita B. Brodsky, accompanying Le
and the thought of Le Parc. The first, From the Surface Parc’sproduction for many years, points out in the catalog
to the Object, features the use of color as a means to of the retrospective that the artist has consistently
destabilize the two-dimensional surface. The works are challenged the autonomy of art, while denouncing the
from early 50 and, in it’s great part, prepare the visitor elitism of traditional painting. “He proposed radical new
for the second core: Offset; Contortions; Reliefs, which relationship between artist, audience and work, creating
displays the revolutionaries mazes, with a disorienting unprecedented and destabilizing meetings that put in
sensory experience in public. The third, put the visitor motion not only the geometric shapes and colors, but
face to face with the Game & Politic of Participation, which the viewer”.
addresses questions about the physical and ideological
walls separating the spectator, the artwork and the 1 | THE LONG ROAD, 1974
institution. 2 | FROM A SKY OF VAN GOGH, 1958
From the start, Le Parc not sticks exclusively to art, dives 3 | INSTABILITY , 1959/91
into systematic programmes to put the form in motion 4 | MODULATION, 1116, 2003-2013
and address the issue of light. At the press conference 5 | ALTERNATING LIGHTS 1967-1993
at Tomie Ohtake is clear that space/place is a binomial 6 | ALQUIMÍAS 218, 1996
controversial within the perceptual experience. The
rooms are linked by the elegant optical pluralism in EXHIBITION SÃO PAULO | PAGES 58 TO 61
All the complexity of the production of Le Parc involves LENORA DE BARROS
which everything moves or creates an imaginary mobility.
natural or cultural dominant in pursuit of light as poetic FACING FEAR
discussion and revelation.
Alongside the Tomie Ohtake Institute, Nara Roesler
gallery organizes an exhibition with notable interaction CREATED IN BRAZILIAN CONSTRUCTIVISM AND FAVORING IMAGE
between nine recent paintings of the series Alchimie AND WORD THE ARTIST OPENS NEW PHASE IN MILLAN GALLERY,
(2016/2017), three of the sculptures set Torsion (2004) WITH PISA NA PAÚRA
and projection AlchimieVirtuel at central space of the
exhibition. Vir tual work displayed for the first time in BY PATRICIA ROUSSEAUX
Latin America, updates the issue of virtuality that Le Parc
explores for over 50 years, as well as in paintings Réels A FEW MONTHS OF RESEARCH in New York contributed
et virtuels/serie Surface noir et blanc (50’s ), Volume to the entrance of Lenora de Barros in a more manual
Virtuel (70’ss), and in the sculptures CercleVirtuel(60’s) work, more artisan, stirring with ceramics.
Le Parc is born in 1928, in Mendoza, Argentina and study In the installation that covers the floor of the Anexo
at the School of fine arts in Buenos Aires. As a natural Millan, the visitor is invited to step on a ground of clay
dream of artists at that time he settled in Paris in 1958, letters that compose the word Paúra, synonymous with
where two years later participates in the Visual Arts fear or dread.
Research Group (GRAV). Seeking a way to implement the In the next room, some kinds of gloves, resembles
ideal of political and social engagement of the spectator, máscaras de mão (Hand Masks), name of the work. All
Le Parc develops a systematic approach that puts the this forms makes a part of a challenge for the artist
color, shapes, movement and light on action. Soon after who says that, “in the beginning I was afraid to render,
his arrival in Paris he begins to experiment with sequential to create the form”.Today that relationship takes on a
combinations of geometric shapes in black and white or in more sensitive character.
color, a grid-based composition. This practice became the Lastly, but also linked to the importance and the value
basis of the idea of animating the surface and destabilize of the word in your work, the artist produced a very
the viewer’s experience. impressive, targets, where several masks were targeted
Despite frequent exhibitions and positive reviews, the with bullets, specifically in their mouths, as if they were
effective impulse to his production happens when receives especially affected in their speak place.