Black wood box, 21 x 19 3/4 x 5 5/8" (53.4 x 50 x 14.1 cm), with illuminated aperture, 7 7/8 x 8" (20 x 20.2 cm), in which fifty-four plastic squares, 1 1/2 x 1 1/2" (3.6 x 3.6 cm), are suspended from eighteen nylon threads; mirror backing, 11 7/8 x 16" (30.1 x 40.4 cm), two reflectors, three sets of interchangeable pierced metal screens, and two glass filters
Not on view
Le Parc studied at l'Académie des Beaux-Arts (Academy of fine arts) in Buenos Aires and received a scholarship to go to Paris in 1958, where he remained for much of his career. There, he developed friendships with Sérgio Camargo, Jesús Rafael Soto, and Carlos Cruz–Diez. In 1960 he became a founding member of the Groupe de Recherche d'Art Visuel (Visual art research group). In the late 1950s Le Parc began utilizing optical and kinetic techniques to achieve effects of light in motion. In Double Concurrence—Continuous Light, 2 the reflection and refraction of light is achieved through fiftyfour suspended plastic squares that are sensitive to the slightest movement, slits in the sides of the box, through which the squares are illuminated, and colored filters that can be placed at the front of the work.
Transmissions: Art in Eastern Europe and Latin America, 1960–1980, September 5, 2015–January 3, 2016.
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