Oniris, Rennes

38 Rue d'Antrain, 35700 Rennes, France

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When Véra Molnar decided in 1968 to make use of the computer for the genesis of her artistic work, this was a real pioneer deed: She was one of the first female artists trained at the academy who turned towards the new media. The genre of the digital picture was still quite young at this point in time, only a few years before; the first computed pictures had been developed, in fact simultaneously in the US and in Germany at the beginning of the 1960s. 

The affinity to concrete art and her ambition for systematization and reduction of sculptural means were thus disposed very early. During her studies of paintings and art history at the Academy of Budapest, Véra Molnar ultimately took to abstraction. Since 1946, her works have been both abstract and geometric. The representation of nature never interested her and when she tries to explain the true reasons of her choice, she says “the simplicity of these shapes still moves her and forever.”

Véra Molnar began to experiment the creative use of the algorithm and computer code to construct her works and make art in the late 60s. Fifty years after her first experiments in computational art, international interest in the history of this subject remains strong and at the same time almost uncovered. This presentation is the first to describe an extremely dynamic field of contemporary art, from the perspective of some of its most celebrated pioneers. Focusing on the relationship between computer programming, art and creativity, the presentation of Véra Molnar’s works at Volta NY 2018 will explore the role of programming in her computer based works from the 70s, looking at how her practice of geometrical abstraction painting in recent decades.

Véra Molnar, Hommage to Barbaud, 1974, Original computer graphic, 17 x 21 in.
Véra Molnar, Transformation of 64 squares, 1973, Original computer graphic, 12 x 12 in.
Véra Molnar, DesOrdres, 1976, Original computer graphic, 17 x 17 in.
Véra Molnar, 7 syllabes, 2017, Acrylic on canvas, 19.7 x 19.7 in.
Véra Molnar, How to get the square out of its hinges, 1988, Original computer graphic, 11 x 48.5 in.
Véra Molnar, When 4 squares touch each other, 2012, Diptych composed of two acrylic on canvas paintings, 39.4 x 79 in.