'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Interior view of Warkartz studio, where proyectosLA will open in September. Courtesy Proyectosla.
Luiza Teixeira de Freitas and Claudia Segura, the curators behind proyectosLA, an upcoming fair-exhibition hybrid that will coincide with the Getty Foundation's Pacific Standard Time: LA/LA initiative, have announced the names of the 62 participating artists, including Marta Minujín, Julio Le Parc, Amalia Ulman, Carlos Cruz-Diez, Carmen Argote, and Rubén Ortiz-Torres.
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 colour 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 colour, line, light, shadow, and movement, composed to make still forms seem to move, solid structures seem to dematerialise, 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).
Not Vital is in the habit of stressing that he isn't an architect. 'I never went to architecture school,' he told me the last time we met in Bataan, where he'd just completed a chapel that resembled an Aztec temple but contained a deconstructed rendering of The Last Supper and a statue of a local harvest deity. 'That's why I'm so free to do this.'
There was a point where Lucia Koch was disturbed by the fact that most approaches to her works took them only as expressions of atmospheric changes on spaces and the alterations that light, modulated by filters, produced on human perception.
With just about three months to go, the 13th Havana Biennial is taking shape.Opening April 12 and running through May 12, Cuba's most important art event is expected to once again bring the international art world to Havana.Postponed due to damage from Hurricane Irma in 2017, the 13th edition expands the Biennial's reach in Havana and around the...
Hélio Oiticica (1937 – 1980) is a now integral part of the New York art scene, in large measure thanks to his 2017 retrospective at the Whitney, To Organize Delirium, which provided New Yorkers with an opportunity to experience him in full.
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