As long as I stared at the clock, at least the world remained in motion. Not a very consequential world, but in motion nonetheless. And as long as I knew the world was still in motion, I knew I existed. Not a very consequential existence, but an existence nonetheless. It struck me as wanting that someone should confirm his own existence only by the hands of an electric wall clock. There had to be a more cognitive means of confirmation. But try as I might, nothing less facile came to mind.
Haruki Murakami, A Wild Sheep Chase (The Rat, #3
"Le Parc's first works with light date back to 1959 and highlight a development in his practice from kinetic object-based works to moving-light installations. These, now regarded as his most iconic artworks, stem from his continued investigation into the public's engagement with art and the uses of exhibition spaces. This series bring forth different forms of engagement through a variety of optical illusions while using the same medium: light. Light that reflects, that is projected, or that is in movement emphasises the endless possibilities of perception offered by a common medium. When I asked him about his relationship to architecture, Le Parc referred to this in as "potential architectures", though the work's significance remains firmly rooted in the experimental: "Little by little I realised that perhaps I could develop the capacity to stimulate the imagination by manipulating elements that are more accessible than the space itself, by making interventions on the surface. Even if there is always an idea behind it, and nothing is ever superflous, it is not about throwing paint against the wall, there are sequences, transformations, situations..." (@hansulrichobrist).
@julio_le_parc, "Continuel lumière au plafond" (2017) in "Julio Le Parc. Bifurcations" @galerieperrotin, #Paris
#JulioLeParc #immersive #installation #environment #light #KineticArt #OpticalArt #experimentation #instability #interactive #optimisme #illusion #Fiac2017