The autumn in Buenos Aires was mo- In the mid eighteen-hundreds, Karl Marx nopolized by the work of Julio le Parc, to asked himself on the reason for the va- whom three expositions were devoted. lidity of Classical Art in modern society. After seeing the video I am left with this Le Parc’s production addresses that thought: “My grandfather came from concern. How is it possible that works afar so that I could one day walk the conceived more than half a century road back”. Did he flee from the repres- ago with traditional techniques such as sion of the Commune, as mine fled from xylography and watercolor are still con- a war? And with that classic “To integrate temporary? Or that his manual works of the artist in the status quo is to neutralize geometric style crafted decades ago him”… And with that question: “Can we seem timeless? We can see in this display still believe?” ... I buy a new catalogue, the genesis of that option: from aca- a book titled Be an artist and shut up!, a demic drawing to abstract rupture, from book so contradictory with its own the- engraving to watercolor, from playing sis that is in itself a provocation, and that with light to the inclusion of movement, reminds me of that oxymoron, muoveti technical changes govern in Le Parc fermo (move still) that I once heard a the rite of passage from one language mother in Palermo (Sicilia) shout at her to the other. But the magnificence of a son. I transcribe from the program: style based on technic resides in its un- noticeableness. Because of its hand- The display “Julio Le Parc. Transición made nature, anchored in the tangible Buenos Aires-Paris (1955-1959)”, presents world, neither watercolor nor xylography in the Temporary Exhibition Pavilion a would allow for abstraction. However, for hundred paintings, drawings, water- Le Parc those means are precisely the colors and engravings, some of them indications of a path leading to “de-ter- never shown before, that celebrate the ritorialization “, for they conjure the geo- early work of the great Argentinian art- metric and elemental structures that rule ist.The Museo Nacional de Bellas Artes our being in the world. fosters this display by Julio Le Parc with the certainty that his work, which meets From the very beginning, the artistic in- abstraction, kinetic art, conceptualism, vestigation of Le Parc has been in flu- and Pop Art, allows to resume the dia- enced by the idea of transforming the logue with universal tradition from a lan- social world. In that sense, Le Parc’s art guage that has remained true to itself for is egalitarian: the viewer is the one to more than five decades. And does so in complete the work. The lucid dimen- tune with the activities of the CCK and sion where the artistic work flows points the Teatro Colón as part of the National to clues on the unfair nature of a cultural Homage to Julio Le Parc. exclusionary system, in the sense that its complete accessibility leads to a collec- tive reflection on the dominions and sub- missions in the artistic field. Andrés Duprat, Director / Museo Nacio- nal de Bellas Artes t6118