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Opening 12:00 BST 13 July 2022
\nClosing 14:00 BST 20 July 2022
\n
\nPhillips is pleased to announce Ex-Machina: A History of Generative Art, an exhibition and online auction of early computer art, video art, and digital art. Ex-Machina will illustrate the history of generative art, kicking off with a preview in our Paris galleries from 31 May – 17 June. The exhibition will then travel to our London galleries, where it will be on view from 11 July - 5 August. The works will be offered in an online auction from 13 - 20 July. Featuring unseen works by pioneers Vera Molnar, Herbert W. Franke and Gottfried Jäger, the sale also brings to market for the first time works by generative NFT artists Snowfro and Dmitri Cherniak.
\n
\nParis Preview 31 May - 17 June
\n
\nLondon Preview 11 July - 3 August (preview will remain open post-sale)

\n","auctionDetailsSmall","Online Auction 13-20 July 2022","extraInfo","

Benjamin Kandler
\nProject Lead for Digital Art, Phillips
\n+44 7393 141 146
\nbkandler@phillips.com
\n
\nAlexis Chompaisal
\nNFT Manager
\nachompaisal@phillips.com
\n
\nNFT@phillips.com

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Vera Molnar, (Des)ordres, 1974. Ex-Machina: A History of Generative Art.

\n\n

Erick "Snowfro" Calderon: Vera, I understand that access to a computer in the early days is very different than it is today. Can you please describe the feeling of being in front of a computer when you were starting your practice? What was the environment like? Did you find it energizing? Or intimidating?

\n\n

VERA MOLNAR: I started to make computer-assisted visual art around 1968 at the Centre de calcul de l'universite de Paris in Orsay. It was with gigantic grey machines, squalid, in huge rooms. To cool the computer, you needed a whole room that blew air. It was very intimidating. At first I didn't know what I could do with the computer, but I had the feeling that it was something invented for me to develop my visual ideas. I always dreamed of having an assistant as a docile, all powerful, non-unionized "slave" who would work even at night and on weekends and obey. So I said to myself, the computer must be that!

\n\n

1968 in France was a very good time for me.The students were demonstrating on the Boulevard Saint Michel, in the Latin Quarter in Paris, so I had the computers at Orsay all to myself. The technician, who was bored to death, was only too happy to help me with the programming. I came from a fine arts school; I learned Fortran by taking a training at the University of Tolbiac, but I was far from being a specialist. I learned a saying during that course that still helps me today: garbage in, garbage out. If you do something that doesn't make sense, it won't work or it will produce something that is confusing. It was in those years that I started to make the most beautiful computer pieces of my career, and also the use of computer paper rolls interested me a lot because it allowed me to introduce the dimension of time by reading from left to right, on the whole roll.

\n\n

\n\n

Vera Molnar. Photo: Laszlo Horwath.

\n\n

\n\n

Erick "Snowfro" Calderon.

\n\n

EC: Today, we get to use repetition and trial and error in developing our work on a computer. I assume time was limited in front of a computer in the early days and you had to do significant planning ahead to maximize your time on the keyboard. Can you share a little of that process or preparation?

\n\n

VM: One day, I arrived at the University of Orsay and I saw a strange thing. It was a display screen on the computer. I asked the technician what it was, and he answered: "Oh, don't worry, it's a new gadget from IBM, it will go out of fashion." I understood that this gadget was going to be my salvation. You get flashes of insight. It was something that was going to give me an answer very quickly. Before, I had to program in Fortran, with punched cards, and then wait several days to get the answer, which was almost always wrong or at least not exactly what I wanted to do.

\n\n

And here, I said to myself that with this screen it was going to be like a conversation, like a real pictorial process: you move the "brush" and you see immediately if it suits you or not, even if it means doing it differently. There is a kind of dialogue that takes place. It's like a form of visual psychoanalysis in fact, which brings to light your own nonsense, I mean the repetitions or the ramblings of something already said 10 times [...] It gives an immediacy that I really like. It's like playing Ping Pong! This IBM gadget really changed my life. It was exactly the same thing when I saw in Budapest a few years before, as a student, a first reproduction of Matisse from the Fauvist period, with brilliant colors, it changed my life.

\n\n

EC: When did you first get your own personal computer at home? What did you do with it?

\n\n

VM: In 1980 I was able to have a personal computer in my studio. This also completely changed my life. First of all, I was the owner of this machine, so I could work as I wanted and when I wanted. I made the most of that computer. It was great to go to bed at night and hear the computer and the plotter working by themselves in the workshop; it was my "slave" doing the work...

\n\n

\n\n

Vera Molnar. Photo: Laszlo Horwath.

\n\n

Recommended Reading

\n\n

NFTs, Past and Future >

\n\n

Ex Machina: A History of Generative Art >

\n","publishDate","2022-06-30T18:55:04.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/98991415/ex-machina-snowfro-in-conversation-with-vera-molnar","displayOrder","auctionEditorialID",1618,"editorialID",3930,"flocklerID",98991415,"https://flockler.com/thumbs/sites/889/snofro-d16b5dcb-77ec-4f2d-bf47-f193c3e1f8ab_s600x0.jpg","Georg Bak on the advancements that merged art and computer technology, and the artists who wielded their convergence to create groundbreaking works. ","

Snowfro, Chromie Squiggle #9304, 2022. Ex-Machina: A History of Generative Art.

\n\n

Written by Georg Bak

\n\n

The new age of information technology began with the invention of the Turing machine and the first mainframe computers by Konrad Zuse during and after the Second World War. As early as the late 1940s, Norbert Wiener and Claude Shannon formulated the first theoretical approaches to cybernetics, which form important foundations for information aesthetics. The binary system, electronic communication, algorithms and early programming languages also inspired artists. Herbert W. Franke is among the pioneers of computer art, who created works of art – so‐called oscillograms – with analogue computing systems and cathode ray oscillographs in the mid‐1950s. On the control panel, he turned, calculated and manipulated, and sine curves and sawtooth curves, which were photographed with the camera, were superimposed on the screen. Even then there was a group of artists who were open to new technology. Large corporations, namely Olivetti, Siemens and Bell Laboratories, provided them with electronic engineering equipment and the know‐how of their specialists.

\n\n

Looking back, 1968 is considered the high point of the computer art movement. At the Institute of Contemporary Art (ICA), London, Jasia Reichardt curated the groundbreaking group exhibition Cybernetic Serendipity, featuring computer‐animated films, plotter graphics, generative music, robots and painting machines. Among the participating artists were Frieder Nake, Georg Nees, Desmond Paul Henry, and Vera Molnar. As a result, the Computer Art Society and the computer art magazine PAGE, edited by Gustav Metzger, were founded in London. Today, the Victoria & Albert Museum in London preserves a large part of the heritage of this period of promoterism. Abraham A. Moles opened the Computers and Visual Research symposium as a parallel event as part of the Nove Tendencije (New Tendencies) exhibition series in Zagreb, as well as a small accompanying exhibition with computer graphic by Charles Csuri, Vladimir Bonacic, and other artists. As a result, a major new art magazine, bit international (1968‐1972), was launched in Zagreb.

\n\n

\n\n

Dmitri Cherniak, Ringers #29, 2021. Ex-Machina: A History of Generative Art.

\n\n

At the same time, the German photographer Gottfried Jäger introduced the concept of generative photography with the exhibition of the same name in the Städtische Kunsthaus in Bielefeld, where his pinhole structures can be seen together with works by Kilian Breier (photograms), Pierre Cordier (chemigrams), and Hein Gravenhorst (photomechanical transformations). Gottfried Jäger defined the production principle common to the artists and inherent in generative photography as follows: “Creation of aesthetic structures based on defined programs, realized through photochemical, photooptical, or phototechnical operations, with the aim of achieving an optimal and functional relationship of all the elements involved in the construction of the aesthetic structure.” Characteristic of generative photography is the experimental and serial process, along with the mathematical structure (program) and often the devices designed by the artists themselves.

\n\n

\n\n

Anne Spalter, Unconstructed Dream Space #2: Inner and Outer Space, 2022. Ex-Machina: A History of Generative Art.

\n\n

Twenty years later, when the personal computer conquered office desks in the 1980s, the media theorist Vilém Flusser stated with foresight: “Changing the world is up to machines: they do it much better than humans. It is up to humans (for the time being) to program machines to change the world. So it is not people’s business to work, but to give work a meaning (to prescribe it). Rules are codified commands.” At the end of the 1970s it was again Herbert W. Franke who took the initiative to organize a large exhibition Ars Ex Machina at Künstlerhaus Wien with the aim of creating an annual show highlighting the current artistic expressions in relation to the most cutting-edge technology. Unfortunately, the project could not be realized at the given time due to a lack of financial support. As a result of these ambitious efforts, Ars Electronica was founded in 1979, which has taken place annually in Linz (Austria) ever since and is still one of the most important exhibitions of media art today.

\n\n

With the explosive rise of blockchain technology and the conquest of the art market by NFTs and digital art, Phillips is undertaking, for the first time in auction history, the endeavor to highlight the most important and overlooked art movement of generative art with the major artists of now and then.

\n\n

Recommended Reading

\n\n

NFTs, Past and Future >

\n\n

The Art Lover's Guide to Rio de Janeiro >

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Further Information on NFTs

\n\n

In what currency will I be bidding?

\n\n

The auction will be conducted and invoiced in British Pounds (GBP).

\n\n

What forms of payment are accepted?

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You can pay for this NFT Lot in GBP or in Ether. If you wish to pay for this NFT Lot in Ether you must satisfy the Cryptocurrency Conditions set out in our Additional Conditions of Sale applicable to Cryptocurrency Payments.

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You acknowledge and agree that the price of Ether can be volatile and subject to upward and downward movements. You acknowledge that the conversion rate between these Accepted Cryptocurrencies and GBP will change during and after the auction until the Lot is paid for. Phillips does not offer cryptocurrency conversion functionality during the auction. Bidders are responsible for making their own currency conversion calculations when bidding in the auction.

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How much will I have to pay?

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If you are the successful bidder on an NFT Lot, you must pay the total purchase price for the Lot (calculated as described in the Conditions of Sale plus network and other fees required to transfer the NFT to your Digital Wallet Wallet as described in the Additional Conditions of Sale Applicable to NFT Lots).
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Are resale royalties payable to the artist on re-sales of the NFT?

\n\n

If resale royalties are payable to the artist on subsequent resales of the NFT, this will be stipulated in the NFT Lot’s smart contract. Where they exist, re-sale royalties will be a percentage of the re-sale price of the NFT. It is therefore important that you review (or seek professional help to review) and understand the operation of the NFT’s smart contract (including any rights and restrictions contained in the smart contract) before bidding.

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Depending on where the NFT Lot is re-sold, additional artist resale royalties and transaction duties may apply to the transaction under applicable law. These would be additional to and not in substitution for any resale royalties imposed by the NFT’s smart contract.

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BY REGISTERING TO BID YOU ACKNOWLEDGE AND AGREE AS FOLLOWS

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You are bidding for yourself and not on behalf of anyone else
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If you are the successful bidder, you will be buying the NFT only. You will not be buying the digital artwork asset identified by the NFT. For further details please read the Additional Conditions of Sale for NFT Lots
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You have a wallet capable of supporting and accepting the NFT token type listed in the NFT Lot description
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You can only pay for the Lot in Ether if you satisfy the Cryptocurrency Conditions set out in our Additional Conditions of Sale applicable to Cryptocurrency Payments. These include requirements for you to make payment:
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We cannot accept cryptocurrency payments:

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from digital wallets hosted on other exchanges or self-hosted wallets;
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from multiple digital wallets; or
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\nIf we cannot accept payment from you in cryptocurrency for these or other reasons, you must make payment in GBP.
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\nFor the full terms and conditions which apply to the sale of this Lot, please read the Conditions of Sale for Online Only London Auctions, the Additional Conditions of Sale applicable to NFT Lots, the Additional Conditions of Sale applicable to Cryptocurrency Payments.

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26

Matt DesLauriers

Meridian #762

Further Details

Full-Cataloguing

Matt DesLauriers