-Le Parc_osgemeos Carpintaria_08-


Nov  6 – Dec 28, 2019

Curated by Pedro Alonzo

By appointment only
Schedule your visit:


Rua Jardim Botânico 971,
Rio de Janeiro



Press release (PT)

Press release (EN)

Carpintaria is delighted to announce JULIO LE PARC & OSGEMEOS, curated by Pedro Alonzo. The show follows the gallery’s experimental program, whose vocation is to promote dialogues between different creators, languages and forms of expression. The exhibition promotes an unforeseen encounter between artists from distinct trajectories and approaches to art making: Le Parc – renowned Argentinian artist based in Paris, pioneer of kinetic art and champion of Concretism; and São Paulo duo OSGEMEOS – owners of a unique style that stems from street art and popular iconography, which has been developing since the 1990s through large-scale murals and immersive environments.

The exhibition brings together twenty works that reveal common principles in the artists’ output, such as the use of a clear-cut geometric structure, a warm color palette, and taking stock from op art. On the one hand, Le Parc presents works from the 1950s to today, including paintings and a large reflexive mobile piece. On the other hand, OSGEMEOS feature new paintings on wood and a series of sculptures made of ceramic vases.

Notably, the work of OSGEMEOS is characterized by a bold figurative style. However, upon closer inspection a distinctive approach to geometric abstraction appears in the colorful background patterns, or in the clothing worn by the signature yellow characters. Deconstructing the painting of OSGEMEOS reveals affinities with Julio Le Parc, not only in terms of the use of color and geometry, but also in the intention to break down the barriers dividing art and society. This is also demonstrated in their mutual commitment to engaging the public through awe and surprise, thus challenging perception by blurring the line between reality and illusion.

In establishing a dialogue between Le Parc and OSGEMEOS, it is critical to consider notions of art and science, and to face the apparent distinctions in Le Parc’s scientific approach and OSGEMEOS’ intuitive process. Ultimately, the exhibition outlines their common interests, while dismantling the divide between scientific method and artistic process. In order to be successful in science or in art one must combine research, intuition, and most importantly, the freedom to experiment.

Julio Le Parc was born in Mendoza, Argentina, in 1928. He lives and works in Paris since 1958. Recently, he was the subject of major institutional retrospectives including: The Metropolitan Museum of Art (New York, 2018), Instituto Tomie Ohtake (São Paulo, 2017); Perez Art Museum (Miami, 2016), Serpentine Galleries (London, 2014), Malba (Buenos Aires, 2014), Palais de Tokyo (Paris, 2013). Le Parc’s works are included in several important collections such as: Albright-Knox (Buffalo), Cisneros Fontanals Art Foundation (Miami), Daros Collection (Zürich), MAM-SP (São Paulo), Musée d’Art Moderne de la Ville de Paris (Paris), MoMA (New York), Tate (London), Walker Art Center (Minneapolis).

The duo OSGEMEOS is formed by brothers Otávio and Gustavo Pandolfo, born in 1974 in São Paulo, where they live and work. Among their most recent projects, highlights include: Frist Art Museum (Nashville, 2019), Hamburger Bahnhof (in collaboration with Flying Steps; Berlin, 2019), Mattress Factory (Pittsburgh, 2018), Pirelli HangarBicocca (Milan, 2016), Vancouver Biennale (Vancouver, 2014), Museu Casa do Pontal (Rio de Janeiro, 2015), ICA (Boston, 2012). Their works figure in important collections around the globe, such as: MOT (Tokyo), Franks-Suss Collection (London), MAM-SP (São Paulo), Pinacoteca do Estado de São Paulo (São Paulo).

Pedro Alonzo is a Boston-based independent curator. Currently adjunct curator at Dallas Contemporary, he was formerly adjunct curator at the ICA Boston (2011–2013), and the Institute of Visual Arts, University of Wisconsin, Milwaukee (1996–2002). Since 2006, he has specialized in producing exhibitions that transcend museum walls and spill out onto the urban landscape, which has been presented in many institutions like: Museo Tamayo (Mexico City), Baltic Centre for Contemporary Art (Newcastle), Pinchuk Art Centre (Kiev), Museum of Contemporary Art (San Diego), MARCO (Monterrey).

We would like to thank Galeria Nara Roesler, which represents Julio Le Parc, for the partnership in this special dialogue.


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