Tate Modern, London
The late artist found his calling in febrile 1960s Paris and this exhibition is imbued with an anarchist spirit – you can even spin the paintings!
In a great scene in Jean-Luc Godard’s 1964 film Bande à Part, the young protagonists run through the Louvre, leaving puzzled art lovers and angry guards in their wake. It seems impromptu and genuinely disruptive yet Godard’s camera finds time to pause in front of Jacques-Louis David’s Oath of the Horatii, an icon of the French Revolution. This is 1960s Paris, a place where young radicals mock high culture in a carnival that starts with running in the museum and will end in 68 on the streets.
Julio Le Parc’s retrospective at Tate Modern plunges you into that 1960s Paris and it’s riotous good fun. It takes a lot to get me off my contemplative pillar and physically “interact” with art but I was soon pushing buttons and spinning paintings. Marcel Duchamp called one of his late works Prière de Toucher (Please Touch), which would have made a good title for this show. Please touch these artworks, make them do things, let them do things to you. One of the simplest, Pattern to Manipulate, is a disc painted with a black and white abstraction: a red arrow on the wall tells you which way to spin it and when you do it fast, the black and white becomes pure white.
