![]() The head of the department, as Molnár told Hans Ulrich Obrist (PDF), “gave me a look and I had the feeling that he was considering whether he should call for a nurse to sedate me.” Yet she was granted access, and alongside scientists and researchers was allowed to rent a computer by the minute. Still, in 1968, she knocked on the door of the Paris University computer center and asked if she could use their machine to make art. “Everyone was scandalized, basically, no one looked at what I was doing it seemed so terrible.” Other artists, she recalls, accused her of “dehumanizing” art. “When the computer arrived, it put me completely on the fringe of the whole society,” Molnár told the art historian Vincent Baby about her work. In the 1960s, a series of breakthroughs made computers more widely available – and culturally central. Although Molnár soon left GRAV over disagreements over computers and the group dissolved before the end of the decade, its interest in Kinetic Art and Op Art held certain formal alignments with the computer-generated work that she was on the verge of creating. By the 1960s, she had cofounded the collaborative organization Groupe de Recherche d’Art Visuel (GRAV), whose membership included François Morellet and Julio Le Parc and who met to discuss the aesthetics of collaboration and spectatorship. ![]()
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