Vera Molnár (born in Budapest in 1924, resided in Paris from 1947 till her dying on 7 December 2023 on the age of 99) was a pioneer of digital artwork.  

Her works, sustained by a data of the psychology of shapes and the legal guidelines of imaginative and prescient, designed in a constructivist method round 1947, turned creative interrogations of perspective. As a cybernetician and pc scientist, Molnár established what she known as an “imaginary machine” within the Nineteen Sixties, earlier than turning into the primary artist in France (1968) to provide digital drawings utilizing a pc linked to a plotter. Up till the mid-90s, she engaged in systematic exploration of households of types, showcasing their mutations whereas normally prioritising iteration and seriality.

The exhibition begins with the early drawings, Arbres et collines géométriques (Geometric bushes and hills, 1946), of Vera Molnár who, even earlier than she moved to Paris in 1947, offered an essentialised imaginative and prescient of acquainted landscapes. The Fifties come to mind in compositions that find the artist firmly within the post-war geometric abstraction motion (Cercles et demi-cercles, Circles and half-circles, 1953, Grenoble Museum; Quatre éléments distribués au hasard, 4 randomly distributed components, 1959). 
Having offered extremely radicalised work (Icône, Icon, 1964; Neuf carrés rouges, 9 purple squares, 1966), Molnár commenced her sequence of algorithmic drawings entitled À la recherche de Paul Klee (Seeking Paul Klee), anticipating her use of the pc. 

For the Nineteen Seventies, a number of sequence of drawings made this time on a plotting desk illustrate her style for the introduction of a sure share of dysfunction in easy geometric compositions (Déambulation entre ordre et chaos, A stroll between order and chaos, 1975; 160 carrés poussés à bout, 160 squares pushed to the restrict, 1976; Des lignes, pas des carrés, Traces, not squares,1976; Molnaroglyphes, Molnaroglyphs, 1977-1978). 

The Nineteen Eighties are characterised notably by the looks in Vera Molnár’s work of her first polyptychs (Transformation, Transformation, 1983), of which the Centre Pompidou preserves a number of putting examples (Identiques mais différents, Equivalent however completely different, 2010). Testifying to Vera Molnár’s lengthy affiliation with the work of Albrecht Dürer, Les Métamorphoses d’Albrecht, The Metamorphoses of Albrecht (1994–2017) organises into 4 photos the progressive transition of the latter’s monogram towards her personal. 

Not removed from her Carré dévoyé (Sq. distressed, 1999, Rennes, Tremendous Arts Museum) within the exhibition, guests can even uncover for the primary time, Perspective d’un trait (Perspective on a line, 2014–19), an unique stainless-steel and anodised aluminium sculpture whose notion is reworked because the spectator strikes about. 

Vera Molnár’s photographic work is evoked by way of a number of sequence (Etudes sur sable, Research on sand, 2009; Ombres sur carrelage, Shadows on tiling, 2012; Par temps couvert, In cloudy climate, 2012), whereas the twenty-two volumes of her “Diary” are offered of their entirety. Bulging with diagrams, pictures and numerous paperwork pasted in amongst their pages, these strange train books, represent distinctive paperwork on the artist’s growth and the origin of lots of her works. 

Lastly, a number of in situ installations (OTTWW, 1981-2010, primarily based on a poem by Shelley; Trapèzes penchés à droite (180%), Trapezium leaning to the appropriate (180%) 2009), together with a really latest one (La Vie en M, Life in M 2023), created by Vera Molnár particularly for the event, manifest her need to immerse guests in her universe. 

at Centre Pompidou, Paris
till August 26, 2024