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This interview with Nake, conducted by Franco in 2010 and expanded in 2016, records Nake’s recollections of the 1970 Venice Biennale. As discussed in the Introduction of this Special Issue of PAGE, the 35th Venice Biennale, which opened in June 1970, represented a fundamental step for the institution in the long journey towards the acceptance of computer art (Franco 2013). An important antecedent of the 1970 Venice Biennale’s experimental exhibition was the first Nuremberg Biennale, curated by the Director of the Institute of Modern Art in Nuremberg, Dietrich Mahlow, in 1969. Titled “Konstuktive Kunst: Elemente und Prinzipien” (“Constructive Art: Elements and Principles”), the exhibition explored the various ramifications of Constructivism up to the present time. One of its sections included early computer-based artworks by Nake and others. The second Nuremberg Biennale, in 1971, was once again organised by Mahlow, this time in cooperation with Janni Muller-Hauck and Eberhard Roters. A section devoted to computer art, “Programmierte Kunst—Computer Kunst”, included works by computer art pioneers such as Frieder Nake, Georg Nees, and Michael A. Noll.

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Pioneering Computer Art at the Venice Biennale: An Interview with Frieder Nake

  • 章节

  • 发表日期：

    2026年

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  • Francesca Franco

摘要

This interview with Nake, conducted by Franco in 2010 and expanded in 2016, records Nake’s recollections of the 1970 Venice Biennale. As discussed in the Introduction of this Special Issue of PAGE, the 35th Venice Biennale, which opened in June 1970, represented a fundamental step for the institution in the long journey towards the acceptance of computer art (Franco 2013). An important antecedent of the 1970 Venice Biennale’s experimental exhibition was the first Nuremberg Biennale, curated by the Director of the Institute of Modern Art in Nuremberg, Dietrich Mahlow, in 1969. Titled “Konstuktive Kunst: Elemente und Prinzipien” (“Constructive Art: Elements and Principles”), the exhibition explored the various ramifications of Constructivism up to the present time. One of its sections included early computer-based artworks by Nake and others. The second Nuremberg Biennale, in 1971, was once again organised by Mahlow, this time in cooperation with Janni Muller-Hauck and Eberhard Roters. A section devoted to computer art, “Programmierte Kunst—Computer Kunst”, included works by computer art pioneers such as Frieder Nake, Georg Nees, and Michael A. Noll.