Her works, sustained by a knowledge of the psychology of shapes and the laws of vision, designed in a constructivist approach around 1947, became artistic interrogations of perspective. As a cybernetician and computer scientist, Moln\u00e1r established what she called an “imaginary machine” in the 1960s, before becoming the first artist in France (1968) to produce digital drawings using a computer connected to a plotter. Up until the mid-90s, she engaged in systematic exploration of families of forms, showcasing their mutations while usually prioritising iteration and seriality.<\/p>\n
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The exhibition begins with the early drawings, Arbres et collines g\u00e9om\u00e9triques<\/em> (Geometric trees and hills, 1946), of Vera Moln\u00e1r who, even before she moved to Paris in 1947, presented an essentialised vision of familiar landscapes. The 1950s are evoked in compositions that locate the artist firmly in the post-war geometric abstraction movement (Cercles et demi-cercles<\/em>, Circles and half-circles, 1953, Grenoble Museum;\u202fQuatre \u00e9l\u00e9ments distribu\u00e9s au hasard, Four randomly distributed elements, 1959). For the 1970s, several series of drawings made this time on a plotting table illustrate her taste for the introduction of a certain percentage of disorder in simple geometric compositions (D\u00e9ambulation entre ordre et chaos<\/em>, A stroll between order and chaos, 1975; 160 carr\u00e9s pouss\u00e9s \u00e0 bout<\/em>, 160 squares pushed to the limit, 1976; Des lignes, pas des carr\u00e9s<\/em>, Lines, not squares,1976; Molnaroglyphes<\/em>, Molnaroglyphs, 1977-1978).<\/p>\n The 1980s are characterised notably by the appearance in Vera Moln\u00e1r’s work of her first polyptychs (Transformation<\/em>, Transformation, 1983), of which the Centre Pompidou preserves several striking examples (Identiques mais diff\u00e9rents<\/em>, Identical but different, 2010). Testifying to Vera Moln\u00e1r’s long association with the work of Albrecht D\u00fcrer, Les M\u00e9tamorphoses d\u2019Albrecht<\/em>, The Metamorphoses of Albrecht (1994-2017) organises into four pictures the progressive transition of the latter’s monogram toward her own.<\/p>\n Not far from her Carr\u00e9 d\u00e9voy\u00e9<\/em> (Square distressed, 1999, Rennes, Fine Arts Museum) in the exhibition, visitors can also discover for the first time, Perspective d\u2019un trait<\/em> (Perspective on a line, 2014-2019), an original stainless steel and anodised aluminium sculpture whose perception is transformed as the spectator moves about.<\/p>\n Vera Moln\u00e1r’s photographic work is evoked through several series (Etudes sur sable<\/em>, Studies on sand, 2009; Ombres sur carrelage<\/em>, Shadows on tiling, 2012; Par temps couvert<\/em>, In cloudy weather, 2012), while the twenty-two volumes of her “Diary” are presented in their entirety. Bulging with diagrams, photographs and various documents pasted in among their pages, these ordinary exercise books, constitute unique documents on the artist’s development and the origin of many of her works.<\/p>\n Lastly, several in situ installations (OTTWW<\/em>, 1981-2010, based on a poem by Shelley; Trap\u00e8zes pench\u00e9s \u00e0 droite<\/em> (180%)<\/em>, Trapezium leaning to the right (180%) 2009), including a very recent one (La Vie en M<\/em>, Life in M 2023), created by Vera Moln\u00e1r especially for the occasion, manifest her desire to immerse visitors in her universe.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":" Exhibition at Centre Pompidou, Paris<\/p>\n","protected":false},"author":2,"featured_media":15473,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[362],"tags":[],"class_list":["post-15472","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-blogs","entry","clearfix","entry-post-module-layout-sidebar-right","thumbnail-color-tone-dark","metro-landscape","entry-post","entry-standard","entry-post-standard"],"_links":{"self":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/posts\/15472"}],"collection":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/comments?post=15472"}],"version-history":[{"count":1,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/posts\/15472\/revisions"}],"predecessor-version":[{"id":15474,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/posts\/15472\/revisions\/15474"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/media\/15473"}],"wp:attachment":[{"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/media?parent=15472"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/categories?post=15472"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dam.org\/museum\/wp-json\/wp\/v2\/tags?post=15472"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nHaving presented highly radicalised paintings (Ic\u00f4ne<\/em>, Icon, 1964; Neuf carr\u00e9s rouges<\/em>, Nine red squares<\/em>, 1966), Moln\u00e1r commenced her series of algorithmic drawings entitled \u00c0 la recherche de Paul Klee<\/em> (In search of Paul Klee), anticipating her use of the computer.<\/p>\n