In conjunction with his exhibition opening, renowned artist Julio Le Parc will sign copies of his catalogue, Julio Le Parc: Form into Action, edited by Estrellita B. Brodsky, to celebrate its release at PAMM. Julio Le Parc: Form into Action is the first solo museum exhibition and only comprehensive survey of Le Parc’s work in North America. The exhibition will be on view in the Fernandez Family Galleries through March 19, 2017 and copies of the catalogue can be purchased at PAMM Shop.
Born in 1928 in Mendoza, Argentina, Julio Le Parc attended the Escuela de Bella Artes in Buenos Aires in 1943. A student of Lucio Fontana when the White Manifesto was published in 1946, Le Parc became interested concepts of a “spatialist art” as well the ideas of the Argentine based group Arte Concreto-Invención. Le Parc rapidly became engaged with the ﬂourishing avant-garde scene. In reaction to the repressive dictatorship of Juan Perón, the artist dropped out of school returning only after the dictator’s fall in 1955. Upon his return, Le Parc took a leadership role as an artist-advocate joining the university’s students’ organization Centro de Estudiantes de Bellas Artes (Fine Arts’ Student Council, CEBA), a major force of militant government opposition. Victor Vasarely’s 1958 exhibition in Buenos Aries became an important catalyst for Le Parc’s departure for Paris that year. Awarded a scholarship, Le Parc pursued collaborative work with fellow followers of Vasarely and co-founded the Groupe de Recherche d’Art Visuel (GRAV) in 1960. Representing Argentina at the 1966 Venice Biennale, Le Parc won the Grand International Prize for Painting as an individual artist. Although the group dissolved in 1968, Le Parc continued to work simultaneously as an individual artist and as part of international collaboratives, particularly those involved in politically denouncing totalitarian regimes. Le Parc’s participation in the May 1968 Paris uprising and union rallies led to his expulsion from France for a period of a year. Upon his return to Paris, Le Parc became an important conduit between activist Latin American artists and the Paris art scene, most speciﬁcally through the Paris publication ROBHO, for which he covered the events of Tucumán Arde in Argentina. Le Parc’s works have been the subject of numerous solo shows in Europe and Latin America, including Instituto Torcuato Di Tella (Buenos Aires), the Museo de Bellas Artes (Caracas), Palacio de Bellas Artes (Mexico), Casa de las Américas (Havana), Moderna Museet (Stockholm), Daros (Zürich), Städtische Kunsthalle (Düsseldorf) and more recently at the Palais de Tokyo in Paris.
Biographical note written by Estrellita B. Brodsky.