Kinetic art is art from any medium that contains movement perceivable by the viewer or depends on motion for its effect. Canvas paintings that extend the viewer's perspective of the artwork and incorporate multidimensional movement are the earliest examples of kinetic art. More pertinently speaking, kinetic art is a term that today most refers to three-dimensional sculptures and figures such as mobiles that move or are machine operated; the moving parts are powered by wind, a motor or the observer. Kinetic art encompasses a wide variety of styles. There is a portion of kinetic art that includes virtual movement, or rather movement perceived from only certain angles or sections of the work; this term clashes with the term "apparent movement", which many people use when referring to an artwork whose movement is created by motors, machines, or electrically powered systems. Both apparent and virtual movement are styles of kinetic art that only have been argued as styles of op art; the amount of overlap between kinetic and op art is not significant enough for artists and art historians to consider merging the two styles under one umbrella term, but there are distinctions that have yet to be made.
"Kinetic art" as a moniker developed from a number of sources. Kinetic art has its origins in the late 19th century impressionist artists such as Claude Monet, Edgar Degas, Édouard Manet who experimented with accentuating the movement of human figures on canvas; this triumvirate of impressionist painters all sought to create art, more lifelike than their contemporaries. Degas’ dancer and racehorse portraits are examples of what he believed to be "photographic realism". By the early 1900s, certain artists grew closer to ascribing their art to dynamic motion. Naum Gabo, one of the two artists attributed to naming this style, wrote about his work as examples of "kinetic rhythm", he felt that his moving sculpture Kinetic Construction was the first of its kind in the 20th century. From the 1920s until the 1960s, the style of kinetic art was reshaped by a number of other artists who experimented with mobiles and new forms of sculpture; the strides made by artists to "lift the figures and scenery off the page and prove undeniably that art is not rigid" took significant innovations and changes in compositional style.
Édouard Manet, Edgar Degas, Claude Monet were the three artists of the 19th century that initiated those changes in the Impressionist movement. Though they each took unique approaches to incorporating movement in their works, they did so with the intention of being a realist. In the same period, Auguste Rodin was an artist whose early works spoke in support of the developing kinetic movement in art. However, Auguste Rodin's criticisms of the movement indirectly challenged the abilities of Manet and Monet, claiming that it is impossible to capture a moment in time and give it the vitality, seen in real life, it is impossible to ascribe Manet's work to any one era or style of art. One of his works, on the brink of a new style is Le Ballet Espagnol; the figures' contours coincide with their gestures as a way to suggest depth in relation to one another and in relation to the setting. Manet accentuates the lack of equilibrium in this work to project to the viewer that he or she is on the edge of a moment, seconds away from passing.
The blurred, hazy sense of color and shadow in this work place the viewer in a fleeting moment. In 1863, Manet extended his study of movement on flat canvas with Le déjeuner sur l'herbe; the light and composition are the same, but he adds a new structure to the background figures. The woman bending in the background is not scaled as if she were far away from the figures in the foreground; the lack of spacing is Manet's method of creating snapshot, near-invasive movement similar to his blurring of the foreground objects in Le Ballet Espagnol. Edgar Degas is believed to be the intellectual extension of Manet, but more radical for the impressionist community. Degas' subjects are the epitome of the impressionist era, his "modern subjects" never obscured his objective of creating moving art. In his 1860 piece Jeunes Spartiates s'exerçant à la lutte, he capitalizes on the classic impressionist nudes but expands on the overall concept, he places them in a flat landscape and gives them dramatic gestures, for him this pointed to a new theme of "youth in movement".
One of his most revolutionary works, L’Orchestre de l’Opéra interprets forms of definite movement and gives them multidimensional movement beyond the flatness of the canvas. He positions the orchestra directly in the viewer’s space, while the dancers fill the background. Degas is alluding to the Impressionist style of combining movement, but redefines it in a way, seen in the late 1800s. In the 1870s, Degas continues this trend through his love of one shot motion horseraces in such works as Voiture aux Courses, it wasn’t until 1884 with Chevaux de Course that his attempt at creating dynamic art came to fruition. This work is part of a series of horse races and polo matches wherein the figures are well integrated into the landscape; the horses and their owners are depicted as if caught in a moment of intense deliberation, trotting away casually in other frames. The impressi
Buenos Aires is the capital and largest city of Argentina. The city is located on the western shore of the estuary of the Río de la Plata, on the South American continent's southeastern coast. "Buenos Aires" can be translated as "fair winds" or "good airs", but the former was the meaning intended by the founders in the 16th century, by the use of the original name "Real de Nuestra Señora Santa María del Buen Ayre". The Greater Buenos Aires conurbation, which includes several Buenos Aires Province districts, constitutes the fourth-most populous metropolitan area in the Americas, with a population of around 15.6 million. The city of Buenos Aires is the Province's capital. In 1880, after decades of political infighting, Buenos Aires was federalized and removed from Buenos Aires Province; the city limits were enlarged to include the towns of Flores. The 1994 constitutional amendment granted the city autonomy, hence its formal name: Autonomous City of Buenos Aires, its citizens first elected a chief of government in 1996.
Buenos Aires is considered an'alpha city' by the study GaWC5. Buenos Aires' quality of life was ranked 91st in the world, being one of the best in Latin America in 2018, it is the most visited city in South America, the second-most visited city of Latin America. Buenos Aires is a top tourist destination, is known for its preserved Eclectic European architecture and rich cultural life. Buenos Aires held the 1st Pan American Games in 1951 as well as hosting two venues in the 1978 FIFA World Cup. Buenos Aires hosted the 2018 the 2018 G20 summit. Buenos Aires is a multicultural city, being home to multiple religious groups. Several languages are spoken in the city in addition to Spanish, contributing to its culture and the dialect spoken in the city and in some other parts of the country; this is because in the last 150 years the city, the country in general, has been a major recipient of millions of immigrants from all over the world, making it a melting pot where several ethnic groups live together and being considered one of the most diverse cities of the Americas.
It is recorded under the archives of Aragonese that Catalan missionaries and Jesuits arriving in Cagliari under the Crown of Aragon, after its capture from the Pisans in 1324 established their headquarters on top of a hill that overlooked the city. The hill was known to them as Bonaira, as it was free of the foul smell prevalent in the old city, adjacent to swampland. During the siege of Cagliari, the Catalans built a sanctuary to the Virgin Mary on top of the hill. In 1335, King Alfonso the Gentle donated the church to the Mercedarians, who built an abbey that stands to this day. In the years after that, a story circulated, claiming that a statue of the Virgin Mary was retrieved from the sea after it miraculously helped to calm a storm in the Mediterranean Sea; the statue was placed in the abbey. Spanish sailors Andalusians, venerated this image and invoked the "Fair Winds" to aid them in their navigation and prevent shipwrecks. A sanctuary to the Virgin of Buen Ayre would be erected in Seville.
In the first foundation of Buenos Aires, Spanish sailors arrived thankfully in the Río de la Plata by the blessings of the "Santa Maria de los Buenos Aires", the "Holy Virgin Mary of the Good Winds", said to have given them the good winds to reach the coast of what is today the modern city of Buenos Aires. Pedro de Mendoza called the city "Holy Mary of the Fair Winds", a name suggested by the chaplain of Mendoza's expedition – a devotee of the Virgin of Buen Ayre – after the Sardinian Madonna de Bonaria. Mendoza's settlement soon came under attack by indigenous people, was abandoned in 1541. For many years, the name was attributed to a Sancho del Campo, said to have exclaimed: How fair are the winds of this land!, as he arrived. But Eduardo Madero, in 1882 after conducting extensive research in Spanish archives concluded that the name was indeed linked with the devotion of the sailors to Our Lady of Buen Ayre. A second settlement was established in 1580 by Juan de Garay, who sailed down the Paraná River from Asunción.
Garay preserved the name chosen by Mendoza, calling the city Ciudad de la Santísima Trinidad y Puerto de Santa María del Buen Aire. The short form "Buenos Aires" became the common usage during the 17th century; the usual abbreviation for Buenos Aires in Spanish is Bs. As, it is common as well to refer to it as "B. A." or "BA". While "BA" is used more by expats residing in the city, the locals more use the abbreviation "Baires", in one word. Seaman Juan Díaz de Solís, navigating in the name of Spain, was the first European to reach the Río de la Plata in 1516, his expedition was cut short when he was killed during an attack by the native Charrúa tribe in what is now Uruguay. The city of Buenos Aires was first established as Ciudad de Nuestra Señora Santa María del Buen Ayre after Our Lady of Bonaria on 2 February 1536 by a Spanish expedition led by Pedro de Mendoza; the settlement founded by Mendoza was located in what is today the San Telmo district of Buenos Aires, south of the city centre. More attacks by the indigenous
Latvians are a Baltic ethnic group and nation native to Latvia and the immediate geographical region, the Baltics. They are also referred to as Letts, although this term is becoming obsolete. Latvians share a common Latvian language and history. A Finnic-speaking tribe known as the Livs settled among the Latvians and modulated the name to "Latvis", meaning "forest-clearers", how medieval German, Teutonic settlers referred to these peoples; the Germanic settlers referred to the natives as "Letts" and the nation to "Lettland", naming their colony Livonia or Livland. The Latin form, Livonia referred to the whole territory of the modern-day Latvia as well as southern Estonia, which had fallen under a minimal Germanic influence. Latvians and Lithuanians are the only surviving members of the Baltic branch of the Indo-European family. Paternal haplogroups N1c-Tat and R1a are the two most frequent, reaching 39.9% each among ethnic Latvians. N1c-Tat mutation originated in South Siberia eight to nine thousand years ago and had spread through the Urals into the Europe where it is most common among Finno-Ugric and Baltic people.
Balts, differ from Finno-Ugrics by the predominance of the N1c-L550 branch of N1c-Tat. Haplogroup R1a is associated with the spread of Indo-European languages. Latvians share a common language and have a unique culture with traditions, holidays and arts; the culture and religious traditions have been somewhat influenced by Germanic and Russian traditions. Latvians have an ancient culture, archaeologically dated back to 3000 BC. Latvians maintained a considerable trade with their neighbors; the first indications of human inhabitants on the lands of modern Latvia date archaeologically to c. 9000 BC, suggesting that the first settlers were hunters that stayed immediately following the end of the last Ice Age. Colonizers from the south arrived driving many of the hunters northward as polar ice caps melted further, or east, into modern-day Russia and Ukraine; the Roman author Tacitus remarked upon the "Aestii" peoples, thought to be inhabitants of the modern Baltic lands, suggesting that they were abound with formidable, yet peaceful and hospitable people.
The Latvian peoples remained undisturbed until Papal intervention via the Germanic, Teutonic Order colonized Kurzeme, beginning in the first half of the 13th century. Papal decrees ordered the Teutonic Order to spread the "Word of the Lord" and the Gospel of Christianity throughout "uncivilized", "Pagan lands". Though these attempts to Christianize the population failed, the Teutonic Order redeployed southward, to the region of what was once known as East Prussia. South-Eastern Latvia, due to having a large ethnic Russian population, has maintained a large Russian influence. Most of the religious Latvians belong to the Evangelical Lutheran Church, but in Eastern Latvia the Roman Catholic Church is predominant, a small minority of Latvians belong to the Latvian Orthodox Church and other religious congregations. In the late 18th century, a small but vibrant Herrnhutist movement played a significant part in the development of Latvian literary culture before it was absorbed into the mainstream Lutheran denomination.
The national language of the Latvian people is Latvian. Latvian is part of a unique linguistic branch of Indo-European languages: the Baltic languages. Latvia. Lettish Life in Legendary & Modern Times by Florence Farmborough. In: Peoples of All Nations: Their Life Today and Story of Their Past. Vol 5 – pp. 3267-3296 List of Latvians Demographics of Latvia Latvian American Latvian Australian Latvian Brazilian Latvian Canadian Baltic people in the United Kingdom
Ruy Ohtake is an architect born on January 27, 1938, in the neighbourhood of Móoca, São Paulo, Brazil. Son of Japanese artist Tomie Ohtake, Ruy Ohtake is known for his unusual architectural designs. Examples of his projects are the half-moon-shaped Hotel Unique, the Hotel Renaissance building, commercial building Edifício Santa Catarina at Avenida Paulista - all three located in the city of São Paulo. Ohtake is famous for the design of the Thomie Ohtake Cultural Institute and the commercial building next to it, he majored in Architecture in 1960 at the University of São Paulo. Ohtake has been married twice: first to Brazilian actress Célia Helena, who died in 1997, to architect Silvia Vaz, he has two children and Rodrigo. Japanese community of São Paulo Ruy Ohtake Architecture Instituto Tomie Ohtake
Art is a diverse range of human activities in creating visual, auditory or performing artifacts, expressing the author's imaginative, conceptual ideas, or technical skill, intended to be appreciated for their beauty or emotional power. In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, the aesthetic dissemination of art; the three classical branches of art are painting and architecture. Music, film and other performing arts, as well as literature and other media such as interactive media, are included in a broader definition of the arts; until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. In modern usage after the 17th century, where aesthetic considerations are paramount, the fine arts are separated and distinguished from acquired skills in general, such as the decorative or applied arts. Though the definition of what constitutes art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency and creation.
The nature of art and related concepts, such as creativity and interpretation, are explored in a branch of philosophy known as aesthetics. In the perspective of the history of art, artistic works have existed for as long as humankind: from early pre-historic art to contemporary art. One early sense of the definition of art is related to the older Latin meaning, which translates to "skill" or "craft," as associated with words such as "artisan." English words derived from this meaning include artifact, artifice, medical arts, military arts. However, there are many other colloquial uses of all with some relation to its etymology. Over time, philosophers like Plato, Aristotle and Kant, among others, questioned the meaning of art. Several dialogues in Plato tackle questions about art: Socrates says that poetry is inspired by the muses, is not rational, he speaks approvingly of this, other forms of divine madness in the Phaedrus, yet in the Republic wants to outlaw Homer's great poetic art, laughter as well.
In Ion, Socrates gives no hint of the disapproval of Homer. The dialogue Ion suggests that Homer's Iliad functioned in the ancient Greek world as the Bible does today in the modern Christian world: as divinely inspired literary art that can provide moral guidance, if only it can be properly interpreted. With regards to the literary art and the musical arts, Aristotle considered epic poetry, comedy, dithyrambic poetry and music to be mimetic or imitative art, each varying in imitation by medium and manner. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, poetry with language; the forms differ in their object of imitation. Comedy, for instance, is a dramatic imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, through drama or no drama. Aristotle believed that imitation is natural to mankind and constitutes one of mankind's advantages over animals.
The more recent and specific sense of the word art as an abbreviation for creative art or fine art emerged in the early 17th century. Fine art refers to a skill used to express the artist's creativity, or to engage the audience's aesthetic sensibilities, or to draw the audience towards consideration of more refined or finer work of art. Within this latter sense, the word art may refer to several things: a study of a creative skill, a process of using the creative skill, a product of the creative skill, or the audience's experience with the creative skill; the creative arts are a collection of disciplines which produce artworks that are compelled by a personal drive and convey a message, mood, or symbolism for the perceiver to interpret. Art is something that stimulates an individual's thoughts, beliefs, or ideas through the senses. Works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. For some scholars, such as Kant, the sciences and the arts could be distinguished by taking science as representing the domain of knowledge and the arts as representing the domain of the freedom of artistic expression.
If the skill is being used in a common or practical way, people will consider it a craft instead of art. If the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand and design are sometimes considered applied art; some art followers have argued that the difference between fine art and applied art has more to do with value judgments made about the art than any clear definitional difference. However fine art has goals beyond pure creativity and self-expression; the purpose of works of art may be to communicate ideas, such as in politically, spiritually, or philosophically motivated art. The purpose may be nonexistent; the nature of art has been described by philosopher Richard Wollheim as "one of the most elusive of the traditional problems of human culture". Art has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exp
Stuttgart is the capital and largest city of the German state of Baden-Württemberg. Stuttgart is located on the Neckar river in a fertile valley known locally as the "Stuttgart Cauldron." It lies an hour from the Black Forest. Its urban area has a population of 609,219, making it the sixth largest city in Germany. 2.7 million people live in the city's administrative region and another 5.3 million people in its metropolitan area, making it the fourth largest metropolitan area in Germany. The city and metropolitan area are ranked among the top 20 European metropolitan areas by GDP. Since the 6th millennium BC, the Stuttgart area has been an important agricultural area and has been host to a number of cultures seeking to utilize the rich soil of the Neckar valley; the Roman Empire conquered the area in 83 AD and built a massive castrum near Bad Cannstatt, making it the most important regional centre for several centuries. Stuttgart's roots were laid in the 10th century with its founding by Liudolf, Duke of Swabia, as a stud farm for his warhorses.
Overshadowed by nearby Cannstatt, the town grew and was granted a charter in 1320. The fortunes of Stuttgart turned with those of the House of Württemberg, they made it the capital of their county and kingdom from the 15th century to 1918. Stuttgart prospered despite setbacks in the Thirty Years' War and devastating air raids by the Allies on the city and its automobile production during World War II. However, by 1952, the city had bounced back and it became the major economic, industrial and publishing centre it is today. Stuttgart is a transport junction, possesses the sixth-largest airport in Germany. Several major companies are headquartered in Stuttgart, including Porsche, Mercedes-Benz, Daimler AG, Dinkelacker. Stuttgart is unusual in the scheme of German cities, it is spread across a variety of hills and parks. This surprises visitors who associate the city with its reputation as the "cradle of the automobile"; the city's tourism slogan is "Stuttgart offers more". Under current plans to improve transport links to the international infrastructure, the city unveiled a new logo and slogan in March 2008 describing itself as "Das neue Herz Europas".
For business, it describes itself as "Where business meets the future". In July 2010, Stuttgart unveiled a new city logo, designed to entice more business people to stay in the city and enjoy breaks in the area. Stuttgart is a city with a high number of immigrants. According to Dorling Kindersley's Eyewitness Travel Guide to Germany, "In the city of Stuttgart, every third inhabitant is a foreigner." 40% of Stuttgart's residents, 64% of the population below the age of five, are of immigrant background. Stuttgart nicknamed the "Schwabenmetropole" in reference to its location in the centre of Swabia and the local dialect spoken by the native Swabians, has its etymological roots in the Old High German word Stuotgarten, or "stud farm", because the city was founded in 950 AD by Duke Liudolf of Swabia to breed warhorses; the most important location in the Neckar river valley was the hilly rim of the Stuttgart basin at what is today Bad Cannstatt. Thus, the first settlement of Stuttgart was a massive Roman Castra stativa built c. 90 AD to protect the Villas and vineyards blanketing the landscape and the road from Mogontiacum to Augusta Vindelicorum.
As with many military installations, a settlement sprang up nearby and remained there after the Limes moved further east. When they did, the town was left in the capable hands of a local brickworks that produced sophisticated architectural ceramics and pottery; when the Romans were driven back past the Rhine and Danube rivers in the 3rd century by the Alamanni, the settlement temporarily vanished from history until the 7th century. In 700, Duke Gotfrid mentions a "Chan Stada" in a document regarding property. Archaeological evidence shows that Merovingian era Frankish farmers continued to till the same land the Romans did. Cannstatt is mentioned in the Abbey of St. Gall's archives as "Canstat ad Neccarum" in 708; the etymology of the name "Cannstatt" is not clear, but as the site is mentioned as condistat in the Annals of Metz, it is derived from the Latin word condita, suggesting that the name of the Roman settlement might have had the prefix "Condi-." Alternatively, Sommer suggested that the Roman site corresponds to the Civitas Aurelia G attested to in an inscription found near Öhringen.
There have been attempts at a derivation from a Gaulish *kondâti- "confluence". In 950 AD, Duke Liudolf of Swabia, son of the current Holy Roman Emperor Otto I, decided to establish a stud farm for his cavalry during the Hungarian invasions of Europe on a widened area of the Nesenbach river valley 5 kilometres south of the old Roman castrum; the land and title of Duke of Swabia remained in Liudolf's hands until his rebellion was quashed by his father four years later. In 1089, Bruno of Calw built the precursor building to the Old Castle. Stuttgart's viticulture, first documented in the Holy Roman Empire in the year 1108 AD
Julio Le Parc
Julio Le Parc is an Argentina-born artist who focuses on both modern op art and kinetic art. Le Parc attended the School of Fine Arts in Argentina. A founding member of Groupe de Recherche d’Art Visuel and award-winning artworks, he is a significant figure in Argentinean modern art. Julio Le Parc was born into a family of limited economic means. At age thirteen he moved with his mother and brothers to Buenos Aires. While there he attended the School of Fine Arts and showed growing interest in artistic avant-garde movement in Argentina; the School of Fine Arts is where Le Parc, along with fellow artists Hugo Demarco, F. García Miranda, Francisco Sobrino, Horacio García Rossi, François Morellet, Sergio Mǫyano Servanes, Jean-Pierre Yvaral, Jöel Stein formed the Groupe de Recherche d’Art Visuel, or GRAV. A precursor of Kinetic Art and Op Art, founding member of Groupe de Recherche d’Art Visuel and recipient of the Grand Prize for Painting at the 33rd Venice Biennale in 1966, Julio Le Parc is a major figure in modern art history.
The conscious artist was expelled from France in May 1968, after participating in the Atelier Populaire and its protests against major institutions. He lives and works in Cachan France. Julio Le Parc found an interest in art at the age of thirteen when it was evident that, while he was a mediocre student, he was exceptional at sketching portraits and illustration cards, his environment being the School of Fine Arts influenced the early part of his career. While there he attended night classes while working full-time. Le Parc took a special interest in the avant-garde artistic movements in Argentina: Movement of Arte Concreto Invencion. After attending the School for four and a half years he decided to leave the area, he decides to go travel the country, not speaking to his family for eight years. He returns to the Academy of Fine Arts, where he takes an active role in student movement groups. Julio Le Parc graduated from the Academy of Fine Arts with Rogelio Polesello. After returning, in 1958 Le Parc received a grant from the French Cultural Service to go to Paris, France.
Much of his early career was committed to painting and creating monotypes. However, in 1959 Le Parc begins his experimentation with image produced by light multiplied by layers of planes of Plexiglas. Le Parc participated in his first exhibition, Bienal de Sáo Paulo in Sáo Paulo, Brazil in 1957. Upon arriving in Paris in 1958 he connected with Jesús Rafael Soto and Carlos Cruz-Diez who were in Paris. There they met Victor Vasarely, Georges Vantongerloo and Denise René, whom they became friends with. René, a French dealer, was committed to the promotion of abstract art, helped launch kineticism. Upon building relationships with these fellow artists and moving permanently to Paris, Le Parc began to paint what came to be known as Surfaces Sequences; these are works in which the progression of forms with slight variations create illusions of rhythmic movements when completed. In 1960 the GRAV group was established with the collective strategy to delegate the creative act to the viewer; the group advocated for art to play a more active role in society.
In 1966, Le Parc won the Grand Prize in Painting at Venice. He had been living in Paris for eight years at the time of receiving the award. By this time, Le Parc had invested himself in experiments with light. Le Parc had personal experiences with light and mobiles in a translucid cube, as well as an animated piece of light projected on ceilings and the floor, he was experimenting with light on a reflecting cylinder. A defender of human rights, he fought against dictatorship in Latin America. In 1972 he refused to hold a retrospective exhibition at the Musée d'Art Moderne de la Ville de Paris, after flipping a coin to make the decision. Le Parc has continued his use of light and kinetics. However, "in the 1970s, Le Parc's artistic activities became less frequent, to the degree that his work went unnoticed in the international arena for several decades". Nonetheless, with a renewed interest in using light as a medium, Le Parc's work is being brought to the attention of a wider public. In 2004 he produced with Yvonne Argenterio in Elettrofiamma, Italy, a series of sculptures presented the event "Verso la Luce", in the Castle of Boldeniga.
It is still visible in the castle garden monumental sculpture "Verso la Luce". He received a one-man show at the Palais de Tokyo in Paris in 2013, he is committed to immersive art. Mobil Transparent theme is made up of small pieces of Plexiglas connected together like a translucent cascade flowing from the ceiling; this work was the most highlighted work in his exhibition in Miami, Florida in 2011. This work was placed at the center of the main room, allowing the viewer to walk around it to see all the different angles reflected on a mirror directly below it on the floor. Le Parc made an additional version of this work from 1960, for the exhibition in Miami. Light in Movement is another sensorial artwork as with all of Le Parc's works, which did not aim to be a narrative but experienced-based; the piece is made up of painted drywall, stainless steel, nylon thread and two spotlights. The work is 42 ft. x 16 ft. x 16 ft. This artwork is found inside a dark semi-circular hallway where light is experienced as both a reflection and refraction.
The viewer observes the myriad of twinkling lights around the space. This piece was re-fabricated in 2010 for its installation at the Geffen; as with many of Le Parents arc's works form this time, in an interview with Alma Ruiz on MOCAs website, this piece focuses on th