Julio, in the late 1960s, you threw yourself into political movements, interrogating the fact that art was appreciated only by limited people and that viewers remained in a passive position. In the title of this exhibition, Les Couleurs en Jeu, ‘en Jeu’ has the meaning of ‘play’ or ‘gambling’ as well as ‘political scheme (enjeu)’. RS: When I thought about how to present the ‘colour’ works that were the subject of the exhibition, I saw how Le Parc embeds in ‘colour’ his questions towards the political nature of art, which surfaces in his work as the spirit of experimentation in the form of struggle, scheming, and playfulness. Tell us about the meaning behind the exhibition’s title “La Longue Marche” draws an organic line, seamlessly connecting the everyday life of the streets and intersections to the architecture and space, both physically and cognitively. Through this exhibition, I thought that a new relationship and interaction could develop between the people and the city, here in Tokyo. It is an attempt to create an interaction between the work and people, and the environment. RS: Le Parc’s works are not completed in his studio or in the exhibition space. They are the ‘people on the other side of the wall’. Art is valued by a handful of people, the wealthy. The disparity, inequality, domination, the ruling class rising above the rest, the monopoly of wealth (which is created by the labour of many), and the exploitation of the poor that I would later see in society was the world I experienced as a child. On the other side, there was a community of British people who owned the railroad. The construction workers for the railroad, the working class, lived on this side. Julio Le Parc (JP): When I was a child, in front of my house there was a wall. In an interview, Le Parc said that the ‘wall’ he felt as a child due to social disparity was one of his starting points, which later developed into his activities to question society as an open experience of art. I thought that this spirit could be considered to be in line with Le Parc’s awareness of the issues of his activities. The space is open to all, so that everyone can take home an ‘experience’. Inheriting the spirit and generosity of the Maison, which is deeply involved in the arts, it provides opportunities for encounters with a variety of art in a way that is different from museums that focus on collecting. Reiko Setsuda (RS): The Fondation d’entreprise Hermès, in its support of contemporary art, does not have a collection, but is committed to being close to its creation. What is the philosophy behind The Fondation d’entreprise Hermès? Série 14 – 2 Cercles fractionnés, 2021 – 3280 pieces of colour printed PVC sheets | Approx. Installation view of the later facade intervention. We talked to Le Parc and Reiko Setsuda, the curator of The Fondation d’entreprise Hermès, to explore how his artistic practice reaches out to people, and the chemical reaction of his Hermès exhibition. “Colour is certainly an important element,” he states, “but in the process of creation, experience, light, movement, sound, environment, the viewer, and other elements overlap and interact, and it is then that the potential of colour comes into play and becomes an important element.” This is the attitude that he has maintained for 70 years.įor Le Parc, ‘colour’ is not only a means of expression. These 14 colours are representative of all colours, and he treats them as strictly as he defines geometry in his work. The 14 colours selected by Le Parc’s meticulous and mathematical sensibility are irreplaceable, each with its own individuality, and no colours are mixed with one another. The rigour and purity of the 14 colours are aligned in space, while forming a variety of two-dimensional and three-dimensional forms. The Fondation d’entreprise Hermès recently held an exhibition titled “Les Couleurs en Jeu (Attempts and Colours)”, focusing on the theme of “Les Couleurs (The Colours)”, among Le Parc’s artistic activities to date. The 1974 work is “La Longue Marche” by Paris-based artist Julio Le Parc (born in Argentina), drawn out on the facade of the Ginza Maison Hermès on an unprecedented scale. It is like Tokyo has been blessed by a huge rainbow, like a great eye gazes at the people passing by, a monument symbolising the distance, time, and spiritual journey of human life. Bathed in the bright summer sunshine of Ginza, a 45-metre high transparent valley composed of 15,000 45-cm square glass blocks produces 14 vivid colours, making a path from the asphalt road to the blue sky above the city. In conversation with the artist Julio Le Parc and curator Reiko Setsuda Cloison à lames réfléchissantes – Reflected Blades | 1966-2005 | Steel, 49blades, acrylic on canvas | 277 x 252 x 80 cmĢ021.
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