Liberté d'action

Interest for Lumino-Kinetic art has picked up over the last ten years or so, just as its history and its stakes were being reconsidered. In the second half of the 1960s, when Vasarely or Agam saw their work sanctioned by institutions and power, the G.R.A.V. (Le Parc, Morellet, Yvaral…) embodied a more committed and generous form of experimentation. Julio Le Parc, one of its heroes, wanted to change the relation between art and the public while continuing to question the various systems of diffusion and recognition. The manner in which he tossed up to find out whether his retrospective at the Musée d’Art moderne de la Ville de Paris (1972) would run or not (it did not) is a good example of ‘loser takes all’. Indeed, the event took place at the Kunsthalle in Düsseldorf. Julio Le Parc has been able to articulate the work on form to conceptual and political questioning in a different way. Contrary to common opinion, immersion in sensorial experiences may also be a call to action. At a moment when Le Parc’s work is featured prominently in several events (retrospective at the Palais de Tokyo, personal exhibition at the Bugada & Cargnel gallery, participation in the show « Dynamo » at the Grand Palais), we will discuss this original positioning with him.