Solo Vera Molnar ArtBasel Zero | 10 Specialized in early digital art and the dutch digital school /advisor/curator/gallerist/digital art/
Amsterdam, Nederland
Joined February 2021
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With over 20 years of experience in digital art, I am happy to help you build your collection – from early pioneers to today’s innovators. From Vera to Harm, from Rafaël to Manfred. Send me a DM if you're looking for a specific work of art!
Interface gallery retweeted
Congratulations to all the artists whose work is now part of @LACMA’s permanent collection.
Through the LACMA Digital Leaders Collection, Fellowship co-founder Neil Hutchinson has gifted 34 artworks from 13 artists, helping preserve these works of digital art and ideally bringing them into a broader art historical conversation. Congratulations again to everyone who contributed to this acquisition. To read the full press release, visit: lacma.org/press/landmark-gif…
●Maya Man, FAKE IT TILL YOU MAKE IT #404 (2022)
●Rafaël Rozendaal, Homage #93 (2022)
●Diego Trujillo Pisanty, Blind Camera #20 and #91 (2024)
●EKO33, Latent Ink #074 (2024)
●Linda Dounia, Once Upon a Garden, F3-GNS03 First to Fifth Generation, tokens 96-100 (2024), 5 works
●Trevor Paglen, Evolved Hallucinations: FACECAP; The Purification of Lust #7 (Corpus: Terraces of Purgatory); Shadow #14 (Corpus: Things That Exist Negatively) (2024)
●Sofia Crespo, Critically Extant: Acilacris Furcatus (2021)
●Zach Lieberman, 100 Sunsets #52 (2022)
●Vera Molnár, Themes and Variations #92 (2023)
●Operator, Human Unreadable #76 (2023)
●Lauren Lee McCarthy, Seeing Voices #45 and #53 (2024)
●Sarah Meyohas, Infinite Petals 1x1 #11, 2x2 #1688, 3x3 #1414, 5x5 #20440, 10x10 #400 (2025)
●Yatreda (Kiya Tadele), Andromeda of Aethiopia, Volume II (2022), 10 works: Dalion #10/75, Avléos #54/75, Sadéos #38/75, Princess Andromeda #17/50, Queen Cassiopeia #3/50, Kérichos #3/75, Cetus #3/25, King Cepheus #10/50, Perseus #4/25, Andromeda - Constellation #2/13
@mayaonthenet @newrafael @dtpisanty @Eko3316 @LindaDouniaR @trevorpaglen @soficrespo91 @zachlieberman @operator_______ @SarahMeyohas @yatreda
Rafaël Rozendaal, Homage #93 (2022)
Trevor Paglen, Evolved Hallucinations: FACECAP; The Purification of Lust #7 (2024)
Maya Man, FAKE IT TILL YOU MAKE IT #404 (2022)
*Gift of Neil Hutchinson and Fellowship, founding member of LACMA Digital Leaders.
Long time since a museum show of digital art kept resonating with me for days afterwards. The Vera Molnar exhibition at the @V_and_A is that rare thing: beautiful and alive. Her pioneering systems still feel fresh next to today’s generative artists like @harmvddorpel & @mattdesl . Loved every minute of it.
Interface gallery retweeted
AN ARTIST’S LIFE, PART 1 | RAFAËL ROZENDAAL GROWS UP ON THE INTERNET
Rafaël Rozendaal (@newrafael) speaks to Anika Meier (@postanika) about a quarter-century of making art online and the institutional recognition that has placed him in the timeline of art history
rightclicksave.com/article/a…
Pure electronic poetry from 1958.
@HerbertWFranke Tanz der Elektronen captures cathode-ray oscilloscope graphics calculated on a custom analog computer. Decades ahead of its time.
Currently on view at @museumfolkwang @Foundation_HWF
Thanks for the movie @SNOWCASH432 !
#HerbertWFranke #GenerativeArt #EarlyComputerArt
Exhibition catalogues are still one of the best ways into early digital art. Installation views, forgotten names, technical notes. Sometimes a small black & white reproduction tells you more than a perfect image online.
Thirty years after @Rhizome began, the central question of internet art remains remarkably open: how do you preserve a medium built on obsolescence, instability and perpetual change? A thoughtful conversation between @michael_connor and Ben Davis @artnet on the past and uncertain future of website art.
news.artnet.com/multimedia/r…
#InternetArt #Rhizome #DigitalArt #NetArt
Interface gallery retweeted
A 1920 Piet Mondrian's Composition III (Komposition No. XIII). Just hammered at @ChristiesInc London for GBP 25,235,000.
Juxtaposed with a 2022 Casey Reas' CENTURY-XXX-METAFRANKE #934 available for less than 20 GBP; minted as tribute to Herbert W. Franke “In Honor of the Dinosaur of Computer Art”
ALT PIET MONDRIAN (1872-1944) Composition III (Komposition No.XIII)signed with initials and dated '20 PM' (lower centre); signed again and titled 'Composition III PiET MONDRiAN.' (on the stretcher) and inscribed 'HAUT' (on the canvas turnover) oil on canvas 21 x 20 1⁄8 in. (53.4 x 51.2 cm.) Painted in 1920
A former monk who turned his Minneapolis studio into an “electronic scriptorium.” Roman Verostko (1929–2024) wrote his own code to drive pen plotters and produced algorithmic drawings that fuse pure form, controlled chance, and the logic of illuminated manuscripts, often finished by hand with gold leaf. As co-founder of the Algorists, he treated the algorithm as both score and visual scripture.
🖥️ @annespalter ’s digital work carries a painter’s eye into technological landscapes. Places that feel both familiar and slightly impossible. She once described working with digital video as feeling more like painting than working with oils, with composition and colour remaining central.
From her digital work in the early 1990s to later experiments with AI, her fascination with the modern landscape has remained a connecting thread. Across her practice, highways and technological structures sit alongside science fiction imagery, surreal desert forms, and mythic animals: worlds where nature and technology seem to merge.
It’s digital art that still thinks in the language of landscape painting, just with more portals.
A focus and important exhibition! Featuring over 50 works by influential artist Vera Molnar and contemporary practitioners, this display explores how Molnar’s early experiments with computers and algorithmic thinking continues to resonate with digital art today @harmvddorpel #veramolnar #digitalartㅤ
Honoured to show my work alongside my peers as part of Vera Molnár’s exhibition at the @V_and_A. Many thanks to curator Melanie Lenz and the team for this thoughtful presentation.
Interface gallery retweeted
Vera Molnár in 2008: "It was not until 1962 or 1963 that I sold my first screenprint. My works are not easily accessible. Geometric-abstract art is not something one can immediately hang above the fireplace. Some people thought that perhaps there was a hidden truth in my works."
Every artist who has ever sat behind a screen wondering if their pixels, code, or digital canvasses held the same weight as paint and stone—this is the answer.
This moment isn’t just a personal triumph for the late @vera_molnar_official ; it’s a seismic shift. Congrats @V_and_A
Interface gallery retweeted
Every artist who has ever sat behind a screen wondering if their pixels, code, or digital canvasses held the same weight as paint and stone—this is the answer.
This moment isn’t just a personal triumph for the late @vera_molnar_official ; it’s a seismic shift. Congrats @V_and_A
Interface gallery retweeted
"Degrees of Disruption: Vera Molnár at the V&A" by Peter Bauman @monkantony_tez
Bauman on Vera Molnár at the V&A + the link from handmade algos → computer algos → models
🎮 Includes 2 playable demos 🎮
📐 lerandom.art/editorial/degre…📐
Mentions: @V_and_A @harmvddorpel @mattdesl @zachlieberman @soficrespo91 @entangledlight @Licia_He @reas @williamapan @_chenglou @michaelspalter @spalterdigital
At Museum Folkwang for the opening of Herbert W. Franke / Gottfried Jäger: Art and Construction. A special evening celebrating two pioneers and a remarkable artistic dialogue! @HerbertWFranke
First it went slowly. For decades Vera Molnar worked with her machine imaginaire, then with actual computers and plotters, quietly building one of the foundational practices of algorithmic art while major institutions mostly looked the other way. Then it’s happening all at once. As @michaelspalter noted: the canon has shifted. Algorithmic code now stands beside paint and stone.
A watershed moment: Vera Molnar is showing across 4 titans at once—
@GrandPalaisRmn, @newmuseum, West Bund x @centrepompidou, & @V_and_A.
With 2 major books out this Nov, the canon has shifted.
Algorithmic code stands beside paint and stone.
The gates are wide open.
Interface gallery retweeted
'Degrees of Disruption' opens at @V_and_A this Friday with over 50 works.
Vera Molnar was making art with algorithms in the 1960s, long before 'generative art' had a name.
The show explores how these early experiments still resonate with digital art today, ft @REAS, @Licia_He, @harmvddorpel and @williamapan!
Interface gallery retweeted
Vera Molnár in 2019: "It's not to say 'anything can be art'. On the contrary. [Randomness] helps me to better find what I like... thanks to all this technology that we can get very close to what we have imagined, that we might not have found otherwise."
V&A South Kensingtonで10月16日、「Degrees of Disruption: Vera Molnar and Generative Art」が開幕する。Molnárの1969年のプロッター作品《Interruptions》をはじめ、Casey Reas、Harm van den Dorpel、Licia He、William Mapanらの作品を含む50点以上を展示する。
vam.ac.uk/exhibitions/degree…
No software. No plotter. Electronic signals, light, and a camera. In the mid 1950s, @HerbertWFranke used an analog computer and an oscilloscope to create luminous forms, photographing them directly from the screen.
An early experiment in computer art and still one of the purest. @HerbertWFranke @Foundation_HWF
