Julio Le Parc
Mendoza, Argentina, 1928
"The Long March" of 1974 is a significant event in Julio Le Parc's career. This artistic march, named after the famous political Long March that took place in China in 1934-1935, represents a collective action undertaken by the artist and his group of collaborators.
Le Parc's "Long March" involved a traveling journey through Argentina, from April 2nd to July 22nd, 1974, during which the artist and his group took their artworks directly to the people, bypassing traditional art institutions. The primary goal of this artistic march was to democratize art by bringing it to the streets, squares, and public places, allowing a broader audience to access and interact with art. Throughout the "Long March," Le Parc and his group set up installations, projected luminous works, and organized artistic performances in various cities across Argentina. These artistic actions, often ephemeral and temporary, were designed to actively engage the audience, inviting them to participate and interact with the artworks.
The "Long March" served as a protest against the elitism and commercialization of art, promoting accessibility, interactivity, and democratic participation instead. It was a significant testament to Le Parc's commitment to involving society in the artistic process and exploring new forms of artistic expression beyond conventional norms.
This artistic march had a lasting impact on Le Parc's approach to art and inspired many subsequent generations of artists in their pursuit of a more inclusive and socially engaged art. Julio Le Parc's "Long March" remains a significant episode in the history of conceptual art and participatory art.
SERIGRAPHS:
Julio Le Parc's serigraphs related to the "Long March," published by the Denise René Gallery, represent an important visual record of this artistic and social event. Le Parc utilized the serigraphy technique to create a series of works that capture the essence and energy of his artistic march through Argentina. The serigraphs were produced in collaboration with the Denise René Gallery, a renowned Parisian gallery known for its support of kinetic art and optical-kinetic art. The edition by the Denise René Gallery helped spread Le Parc's work internationally, increasing the artist's visibility and solidifying his reputation in the field of kinetic art.
These serigraphic works reflect Le Parc's distinctive aesthetic, characterized by the use of movement, light, and visual interaction. He operates through the system of 14 colors of the chromatic prism in a suite of 6 serigraphs. The prismatic meshes unfold in fluid and sinuous sequences, exploring visual effects of overlapping, intertwining, and superimposition. The organization of the pictorial field is rather free from hierarchies: there is no dominant element or center from which forms radiate.
As Le Parc clarifies, this artwork is a metaphor that can be applied to many different fields. It perfectly embodies the artist's cyclic creative mode, but it also summarizes the long trajectory of his artistic career. Looking back on his past, Le Parc reveals, with a touch of modesty, that "my long march began when I was a child in a small village. I would go to the outskirts of the village, into the desert. I always looked there, where the sun was rising, that is to the east. I looked to the other side, where I could imagine the sea was. I had no idea that one day I would travel 1,100 kilometers to reach the sea, to cross the Atlantic, to come to France, and develop things there. This is my long march. But the end of this long march is not when I die. This long march will continue. It is thus a metaphor for the human condition, but a happy metaphor."
Le Parc's "Long March" involved a traveling journey through Argentina, from April 2nd to July 22nd, 1974, during which the artist and his group took their artworks directly to the people, bypassing traditional art institutions. The primary goal of this artistic march was to democratize art by bringing it to the streets, squares, and public places, allowing a broader audience to access and interact with art. Throughout the "Long March," Le Parc and his group set up installations, projected luminous works, and organized artistic performances in various cities across Argentina. These artistic actions, often ephemeral and temporary, were designed to actively engage the audience, inviting them to participate and interact with the artworks.
The "Long March" served as a protest against the elitism and commercialization of art, promoting accessibility, interactivity, and democratic participation instead. It was a significant testament to Le Parc's commitment to involving society in the artistic process and exploring new forms of artistic expression beyond conventional norms.
This artistic march had a lasting impact on Le Parc's approach to art and inspired many subsequent generations of artists in their pursuit of a more inclusive and socially engaged art. Julio Le Parc's "Long March" remains a significant episode in the history of conceptual art and participatory art.
SERIGRAPHS:
Julio Le Parc's serigraphs related to the "Long March," published by the Denise René Gallery, represent an important visual record of this artistic and social event. Le Parc utilized the serigraphy technique to create a series of works that capture the essence and energy of his artistic march through Argentina. The serigraphs were produced in collaboration with the Denise René Gallery, a renowned Parisian gallery known for its support of kinetic art and optical-kinetic art. The edition by the Denise René Gallery helped spread Le Parc's work internationally, increasing the artist's visibility and solidifying his reputation in the field of kinetic art.
These serigraphic works reflect Le Parc's distinctive aesthetic, characterized by the use of movement, light, and visual interaction. He operates through the system of 14 colors of the chromatic prism in a suite of 6 serigraphs. The prismatic meshes unfold in fluid and sinuous sequences, exploring visual effects of overlapping, intertwining, and superimposition. The organization of the pictorial field is rather free from hierarchies: there is no dominant element or center from which forms radiate.
As Le Parc clarifies, this artwork is a metaphor that can be applied to many different fields. It perfectly embodies the artist's cyclic creative mode, but it also summarizes the long trajectory of his artistic career. Looking back on his past, Le Parc reveals, with a touch of modesty, that "my long march began when I was a child in a small village. I would go to the outskirts of the village, into the desert. I always looked there, where the sun was rising, that is to the east. I looked to the other side, where I could imagine the sea was. I had no idea that one day I would travel 1,100 kilometers to reach the sea, to cross the Atlantic, to come to France, and develop things there. This is my long march. But the end of this long march is not when I die. This long march will continue. It is thus a metaphor for the human condition, but a happy metaphor."
The second son of a working-class family, Julio Le Parc was born on September 23, 1928, in the city of Mendoza, 1100 km west of Buenos Aires. He spent his childhood in Mendoza and began school there; although he was a mediocre student, even then he showed a strong artistic vein by making celebrity portraits and illustrated cards.
He began working at the age of 13 as a delivery boy, and a year later, in 1942, he moved with his mother and siblings to Buenos Aires. Here he undertakes a new job in a factory of leather goods factory, preparing overnight for the entrance test to the Academy of Fine Arts.
Once he passes the exam, Julio begins attending evening classes at the Academy, while continuing to working during the day.
Le Parc from the very beginning shows great interest in avant-garde art movements in Argentina, such as the art-concrete-invention movement and the Spatialist movement led by Lucio Fontana, his teacher. After four and a half years he leaves the Academy of Fine Arts moved by a feeling of rebellion; he also quits his job and breaks with his family.
He lives on the fringes of society, hanging out with anarchists and Marxists, traveling the country as a vagabond and working occasionally as a bricklayer or metalworker.
Later, aware of his situation as an outcast, he returns to society, finds work as a doorman in an official theater, joins an independent experimental theater group, and takes the entrance exam to the Ecole Supérieure Des Beaux-Arts, where he is initially rejected but later admitted.
In 1955 he returned to the Academy of Fine Arts where he actively participated in student movements;
at this time the students took over the management of the occupied schools and abolished the rules of discipline, devised alternative methods of learning, and came into contact with the artists of the Vanguards.
While producing paintings, etchings and monotypes, Le Parc and his comrades reflect on their future as artists in Argentina and decide to move to Paris, the artistic center par excellence, to break free and see for themselves what was happening in Europe. So, after winning a scholarship, Julio was in Paris on November 4, 1958, where his companions gradually joined him. Together they studied the works of contemporary and avant-garde artists, analyzing contradictions and limits to be overcome. In early 1959 Le Parc and Francisco Sobrino worked systematically on the basis of sequences and progressions to achieve optical results. At the same time, they constructively criticized the attitude of artists who used the free choice of forms and their free placement in space and on the surface. These criticisms were mainly aimed at artists of the constructivist or kinetic tendency of the time.
In the 1960s there is the creation of GRAV (Groupe de recherche d'art visuel) which concretizes, forms, organizes and encourages the sharing of experiences and ideas. Participating artists include Horacio García Rossi, Francisco Sobrino, François Morellet, Julio Le Parc, Joël Stein, and Jean-Pierre Vasarely (or Yvaral).
Le Parc participated in all of the group's exhibitions: in 1962 "Nouvelle Tendance" and "Arte programmata" in Milan, Venice and Rome (an occasion in which he met Group N in Padua and Group T in Milan); in 1963 "L'instabilité," Paris Biennial and International Congress of Art Critics in Rimini; in 1964 "Nouvelle Tendance" in Paris and "L'instabilité" in Argentina and Brazil; in 1965 third "Labyrinthe" presented in New York.
At the same time as the group's demonstrations, the first personal experiments with light and the first "mobiles" took place, while from 1961 a constant collaboration with Galerie Denise René in Paris began.
Le Parc made his first solo exhibition in 1966 at the Howard Wise Gallery in New York. In this same year, the Venice Biennale devoted an entire room to his work; in addition, Le Parc won the Grand Prix for painting.
In 1966 he held his first solo exhibition at the Howard Wisse Gallery in New York, which was followed by a solo show at Denise René in Paris. In the same year he won first prize at the Venice Biennale.
In 1968 two retrospective exhibitions are dedicated to him: at the Museum of Modern Art in Stockholm and the Museum of Modern Art in Rio de Janeiro. In the same year we witness the dissolution of GRAV.
In the 1970s many are the exhibitions, travels, and debates between Europe (France, Italy, Germany) and Latin America (Argentina, Chile, Venezuela, Peru). These are the years in which he creates works centered on the use of 14 colors, the countless combinations that can arise from their superimposition or juxtaposition on the theme of waves, and also develops the theme of "Modulations" (1975) with the airbrush and variations in gray, white and black.
Throughout the 1970s and 1980s he continued his activities in the dissemination of Latin American art.
In 1986 he exhibited at "Young Masters" in Rome and at the Venice Biennale, and in 1987 he won first prize at the First International Painting Biennial in Cuenca, Ecuador.
In 1988 he began the "Alchimies" series, which he presented for the first time in 1990 in a solo exhibition at the Rayuela Gallery in Madrid.
In 1992 he participated in the exhibition "L'art en mouvement" at the Maeght Foundation in Saint Paul-de Vence and made two rooms with light installations: one for the Universal Exhibition in Seville and the other at the Centre Pompidou.
In 1998 he exhibited some monumental sculptures at the Symposium in Quito and participated in the GRAV retrospective at the Magasin in Grenoble.
Throughout the 2000s to the present, there are numerous important solo exhibitions around the world and many prestigious commissions.
He lives and works in Cachan.
Museums:
Museo de Bellas Artes, Buenos Aires;
Musée d’Art Moderne de Buenos-Aires;
Instituto Di Tella, Buenos Aires;
Faena Art Center, Buenos Aires;
Centre Culturel Le Parc, Mendoza;
MACBA, Buenos Aires;
Kunsthalle, Nürnberg;
Walraf-Richartz- Museum, Cologne;
Collection Etat Belge, Bruxelles;
Fondation Banco Itaú, São Paulo;
Musé d’Art Moderne de Rio;
Musée d’Art Contemporain, Montréal;
Muzej Suvremene Umjetnosti / Museum of Contemporary Art, Zagreb;
Louisiana Museum of Modern Art, Humlebaek;
Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz;
Museo Nacional Centro de Arte Reina Sofia, Madrid;
Albright-Knox Art Gallery, Buffalo, NY;
Cisneros Fontanals Art Foundation, Miami, FL;
New Orleans Museum of Art, New Orleans, LA;
The Museum of Modern Art, New York, NY;
The Museum of Fine Arts, Houston, TX;
Walker Art Center, Minneapolis, MN;
Delgado Museum, New Orleans;
Fondation Sara-Hilden- Tampere;
Musée d’Art Moderne de la Ville de Paris, Paris;
Musée National d’Art Moderne Georges Pompidou, Paris;
MACVAL, Collection du Conseil Général du Val-de-Marne, Créteil;
Galleria Nazionale d’Arte Moderna, Roma;
Athenaeum Art Museum, Helsinki;
Centre d’art Henie-Onstad, Hovikodden, Oslo;
Fondation Peter Stuyvesant, Amsterdam;
Museum Boijmans Van Beuningen, Rotterdam;
Tate Gallery, London;
Daros Latinamerica, Zurich;
Museo de Bellas Artes, Caracas, Venezuela.
Bibliography:
Le Parc: la modulazione della luce (cat.exp.), Macerata, Pinacoteca e Musei Comunali, 1980;
Robert Hughes, The Shock of the New: Art and the Century of Change, Londres, British Broadcasting Corporation, 1980;
Julio Le Parc. Obras 1959-1981 (cat. exp.), Caracas, Museo de Bellas Artes, 1981;
Damián Bayón, Artistas contemporáneos de América latina, Barcelone/Paris, Ediciones del Serbal/Unesco, 1981;
Julio Le Parc. Modulations (cat. exp.), Zurich, SBG Galerie, 1982;
Bruno D’Amore, Costruttivismo e razionalità: Edoer Agostini, Julio Le Parc (cat. exp.), Padova, Galleria La Chiocciola, 1982;
Antonio Bonet Correa, Arte contemporanea Latinoamericana, Rome, Istituto Italo-Latino-Americano, 1986;
Le Parc. Modulaciones (cat. exp.), Santiago du Chili, Galería Carmen Waugh, 1987;
Julio Le Parc. Experiencias. 30 años 1958-1988 (cat. exp.), Buenos Aires, Secretaria de Cultura de la Nación, Dirección Nacional de Artes, 1988;
Marcelin Pleynet, Michel Ragon, L’Art abstrait 1970-1987, Paris, Maeght éditeur, 1988;
Le Parc & Le Parc en la ciudad (cat. exp.), Buenos Aires, Cadenaci SA, 1988;
Georges Boudaille, Patrick Javault, L’Art abstrait, Paris, Casterman, 1990;
Jean-Philippe Breuille, L’Art du xxe siècle: dictionnaire de peinture et de sculpture, Paris, Larousse, 1991;
Catherine Millet, Conversations avec Denise René, Paris, Adam Biro, 1991;
Harry Bellet, Jean-Louis Prat, L’Art en mouvement (cat. exp.), Paris, Maeght éditeur, 1992;
Giulio Carlo Argan, L’Art moderne, du Siècle des lumières au monde contemporain, Paris, Bordas, 1992;
Frank Popper, L’Art à l’âge électronique, Paris, Hazan, 1993;
Catherine Millet, L’Art contemporain en France, Paris, Flammarion, 1994;
Jean-Louis Pradel, Julio Le Parc, Milan, Severgnini, 1995
Julio Le Parc. Alquimias (cat. exp.), Murcia, Centro de Arte Palacio Almudí, 1996;
Julio Le Parc. Dialogue-lumière (cat. exp.), Paris, Publications artistiques françaises, 1999;
Julio Le Parc (cat. exp.), Buenos Aires, Museo Nacional de Bellas Artes, 2000;
Julio Le Parc: Arte e Tecnologia (cat. exp.), Porto Alegre, Fundação Bienal de Artes Visuais do Mercosul, 2000;
Luciano Caramel, Leonardo Conti, Elena Forin, Giovanni Granzotto, Dino Marangon, Alberto Biasi e Julio Le Parc. La nouvelle révolution française et italienne des artistes latins (cat. exp.), Rome, Verso l’Arte, 2003;
Luciano Caramel, Giovanni Granzotto, Giampiero Leo, Marzio Pinottini, Julio Le Parc. Il Cinetismo. Attualità e storia a confronto (cat. exp.), Rome, Verso l’Arte, 2003
Yvonne Argenterio (dir.), Julio Le Parc. Verso la luce. Torsions (cat. exp.), Boldeniga, Edizione Culturali Castello di Boldeniga, 2004;
Inés Katzenstein (dir.), Listen Here Now! Argentine Art of the 1960s: Writings of the Avant-Garde, New York, Museum of Modern Art, 2004;
Hans-Michael Herzog (dir.), Le Parc Lumière. Obras cinéticas de Julio Le Parc/Kinetic Works by Julio Le Parc (cat. exp.), Zurich, Daros-Latinamerica/Hatje Cantz, 2005;
Le Parc. Antes y después de lumiere (cat. exp.), Bogota, Galería La Cometa, 2007;
Osvaldo Suárez (dir.), Los Cineticos (cat. exp.), Madrid, Museo Nacional Centro de Arte Reina Sofia, 2007;
Max Hollein, Martina Weinhart, (dir.), Op Art (cat. exp.), Francfort/Cologne, Schirn Kunsthalle/Verlag der Buchhandlung Walther König, 2007;
Alma Ruiz (dir.), Suprasensorial. Experiments in Light, Color and Space (cat. exp.), Los Angeles, Los Angeles Museum of Contemporary Art, 2010.
He began working at the age of 13 as a delivery boy, and a year later, in 1942, he moved with his mother and siblings to Buenos Aires. Here he undertakes a new job in a factory of leather goods factory, preparing overnight for the entrance test to the Academy of Fine Arts.
Once he passes the exam, Julio begins attending evening classes at the Academy, while continuing to working during the day.
Le Parc from the very beginning shows great interest in avant-garde art movements in Argentina, such as the art-concrete-invention movement and the Spatialist movement led by Lucio Fontana, his teacher. After four and a half years he leaves the Academy of Fine Arts moved by a feeling of rebellion; he also quits his job and breaks with his family.
He lives on the fringes of society, hanging out with anarchists and Marxists, traveling the country as a vagabond and working occasionally as a bricklayer or metalworker.
Later, aware of his situation as an outcast, he returns to society, finds work as a doorman in an official theater, joins an independent experimental theater group, and takes the entrance exam to the Ecole Supérieure Des Beaux-Arts, where he is initially rejected but later admitted.
In 1955 he returned to the Academy of Fine Arts where he actively participated in student movements;
at this time the students took over the management of the occupied schools and abolished the rules of discipline, devised alternative methods of learning, and came into contact with the artists of the Vanguards.
While producing paintings, etchings and monotypes, Le Parc and his comrades reflect on their future as artists in Argentina and decide to move to Paris, the artistic center par excellence, to break free and see for themselves what was happening in Europe. So, after winning a scholarship, Julio was in Paris on November 4, 1958, where his companions gradually joined him. Together they studied the works of contemporary and avant-garde artists, analyzing contradictions and limits to be overcome. In early 1959 Le Parc and Francisco Sobrino worked systematically on the basis of sequences and progressions to achieve optical results. At the same time, they constructively criticized the attitude of artists who used the free choice of forms and their free placement in space and on the surface. These criticisms were mainly aimed at artists of the constructivist or kinetic tendency of the time.
In the 1960s there is the creation of GRAV (Groupe de recherche d'art visuel) which concretizes, forms, organizes and encourages the sharing of experiences and ideas. Participating artists include Horacio García Rossi, Francisco Sobrino, François Morellet, Julio Le Parc, Joël Stein, and Jean-Pierre Vasarely (or Yvaral).
Le Parc participated in all of the group's exhibitions: in 1962 "Nouvelle Tendance" and "Arte programmata" in Milan, Venice and Rome (an occasion in which he met Group N in Padua and Group T in Milan); in 1963 "L'instabilité," Paris Biennial and International Congress of Art Critics in Rimini; in 1964 "Nouvelle Tendance" in Paris and "L'instabilité" in Argentina and Brazil; in 1965 third "Labyrinthe" presented in New York.
At the same time as the group's demonstrations, the first personal experiments with light and the first "mobiles" took place, while from 1961 a constant collaboration with Galerie Denise René in Paris began.
Le Parc made his first solo exhibition in 1966 at the Howard Wise Gallery in New York. In this same year, the Venice Biennale devoted an entire room to his work; in addition, Le Parc won the Grand Prix for painting.
In 1966 he held his first solo exhibition at the Howard Wisse Gallery in New York, which was followed by a solo show at Denise René in Paris. In the same year he won first prize at the Venice Biennale.
In 1968 two retrospective exhibitions are dedicated to him: at the Museum of Modern Art in Stockholm and the Museum of Modern Art in Rio de Janeiro. In the same year we witness the dissolution of GRAV.
In the 1970s many are the exhibitions, travels, and debates between Europe (France, Italy, Germany) and Latin America (Argentina, Chile, Venezuela, Peru). These are the years in which he creates works centered on the use of 14 colors, the countless combinations that can arise from their superimposition or juxtaposition on the theme of waves, and also develops the theme of "Modulations" (1975) with the airbrush and variations in gray, white and black.
Throughout the 1970s and 1980s he continued his activities in the dissemination of Latin American art.
In 1986 he exhibited at "Young Masters" in Rome and at the Venice Biennale, and in 1987 he won first prize at the First International Painting Biennial in Cuenca, Ecuador.
In 1988 he began the "Alchimies" series, which he presented for the first time in 1990 in a solo exhibition at the Rayuela Gallery in Madrid.
In 1992 he participated in the exhibition "L'art en mouvement" at the Maeght Foundation in Saint Paul-de Vence and made two rooms with light installations: one for the Universal Exhibition in Seville and the other at the Centre Pompidou.
In 1998 he exhibited some monumental sculptures at the Symposium in Quito and participated in the GRAV retrospective at the Magasin in Grenoble.
Throughout the 2000s to the present, there are numerous important solo exhibitions around the world and many prestigious commissions.
He lives and works in Cachan.
Museums:
Museo de Bellas Artes, Buenos Aires;
Musée d’Art Moderne de Buenos-Aires;
Instituto Di Tella, Buenos Aires;
Faena Art Center, Buenos Aires;
Centre Culturel Le Parc, Mendoza;
MACBA, Buenos Aires;
Kunsthalle, Nürnberg;
Walraf-Richartz- Museum, Cologne;
Collection Etat Belge, Bruxelles;
Fondation Banco Itaú, São Paulo;
Musé d’Art Moderne de Rio;
Musée d’Art Contemporain, Montréal;
Muzej Suvremene Umjetnosti / Museum of Contemporary Art, Zagreb;
Louisiana Museum of Modern Art, Humlebaek;
Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz;
Museo Nacional Centro de Arte Reina Sofia, Madrid;
Albright-Knox Art Gallery, Buffalo, NY;
Cisneros Fontanals Art Foundation, Miami, FL;
New Orleans Museum of Art, New Orleans, LA;
The Museum of Modern Art, New York, NY;
The Museum of Fine Arts, Houston, TX;
Walker Art Center, Minneapolis, MN;
Delgado Museum, New Orleans;
Fondation Sara-Hilden- Tampere;
Musée d’Art Moderne de la Ville de Paris, Paris;
Musée National d’Art Moderne Georges Pompidou, Paris;
MACVAL, Collection du Conseil Général du Val-de-Marne, Créteil;
Galleria Nazionale d’Arte Moderna, Roma;
Athenaeum Art Museum, Helsinki;
Centre d’art Henie-Onstad, Hovikodden, Oslo;
Fondation Peter Stuyvesant, Amsterdam;
Museum Boijmans Van Beuningen, Rotterdam;
Tate Gallery, London;
Daros Latinamerica, Zurich;
Museo de Bellas Artes, Caracas, Venezuela.
Bibliography:
Le Parc: la modulazione della luce (cat.exp.), Macerata, Pinacoteca e Musei Comunali, 1980;
Robert Hughes, The Shock of the New: Art and the Century of Change, Londres, British Broadcasting Corporation, 1980;
Julio Le Parc. Obras 1959-1981 (cat. exp.), Caracas, Museo de Bellas Artes, 1981;
Damián Bayón, Artistas contemporáneos de América latina, Barcelone/Paris, Ediciones del Serbal/Unesco, 1981;
Julio Le Parc. Modulations (cat. exp.), Zurich, SBG Galerie, 1982;
Bruno D’Amore, Costruttivismo e razionalità: Edoer Agostini, Julio Le Parc (cat. exp.), Padova, Galleria La Chiocciola, 1982;
Antonio Bonet Correa, Arte contemporanea Latinoamericana, Rome, Istituto Italo-Latino-Americano, 1986;
Le Parc. Modulaciones (cat. exp.), Santiago du Chili, Galería Carmen Waugh, 1987;
Julio Le Parc. Experiencias. 30 años 1958-1988 (cat. exp.), Buenos Aires, Secretaria de Cultura de la Nación, Dirección Nacional de Artes, 1988;
Marcelin Pleynet, Michel Ragon, L’Art abstrait 1970-1987, Paris, Maeght éditeur, 1988;
Le Parc & Le Parc en la ciudad (cat. exp.), Buenos Aires, Cadenaci SA, 1988;
Georges Boudaille, Patrick Javault, L’Art abstrait, Paris, Casterman, 1990;
Jean-Philippe Breuille, L’Art du xxe siècle: dictionnaire de peinture et de sculpture, Paris, Larousse, 1991;
Catherine Millet, Conversations avec Denise René, Paris, Adam Biro, 1991;
Harry Bellet, Jean-Louis Prat, L’Art en mouvement (cat. exp.), Paris, Maeght éditeur, 1992;
Giulio Carlo Argan, L’Art moderne, du Siècle des lumières au monde contemporain, Paris, Bordas, 1992;
Frank Popper, L’Art à l’âge électronique, Paris, Hazan, 1993;
Catherine Millet, L’Art contemporain en France, Paris, Flammarion, 1994;
Jean-Louis Pradel, Julio Le Parc, Milan, Severgnini, 1995
Julio Le Parc. Alquimias (cat. exp.), Murcia, Centro de Arte Palacio Almudí, 1996;
Julio Le Parc. Dialogue-lumière (cat. exp.), Paris, Publications artistiques françaises, 1999;
Julio Le Parc (cat. exp.), Buenos Aires, Museo Nacional de Bellas Artes, 2000;
Julio Le Parc: Arte e Tecnologia (cat. exp.), Porto Alegre, Fundação Bienal de Artes Visuais do Mercosul, 2000;
Luciano Caramel, Leonardo Conti, Elena Forin, Giovanni Granzotto, Dino Marangon, Alberto Biasi e Julio Le Parc. La nouvelle révolution française et italienne des artistes latins (cat. exp.), Rome, Verso l’Arte, 2003;
Luciano Caramel, Giovanni Granzotto, Giampiero Leo, Marzio Pinottini, Julio Le Parc. Il Cinetismo. Attualità e storia a confronto (cat. exp.), Rome, Verso l’Arte, 2003
Yvonne Argenterio (dir.), Julio Le Parc. Verso la luce. Torsions (cat. exp.), Boldeniga, Edizione Culturali Castello di Boldeniga, 2004;
Inés Katzenstein (dir.), Listen Here Now! Argentine Art of the 1960s: Writings of the Avant-Garde, New York, Museum of Modern Art, 2004;
Hans-Michael Herzog (dir.), Le Parc Lumière. Obras cinéticas de Julio Le Parc/Kinetic Works by Julio Le Parc (cat. exp.), Zurich, Daros-Latinamerica/Hatje Cantz, 2005;
Le Parc. Antes y después de lumiere (cat. exp.), Bogota, Galería La Cometa, 2007;
Osvaldo Suárez (dir.), Los Cineticos (cat. exp.), Madrid, Museo Nacional Centro de Arte Reina Sofia, 2007;
Max Hollein, Martina Weinhart, (dir.), Op Art (cat. exp.), Francfort/Cologne, Schirn Kunsthalle/Verlag der Buchhandlung Walther König, 2007;
Alma Ruiz (dir.), Suprasensorial. Experiments in Light, Color and Space (cat. exp.), Los Angeles, Los Angeles Museum of Contemporary Art, 2010.
