Maurizio BologniniMaurizio BologniniMaurizio Bolognini
Computer sigillati (Sealed Computers), courtesy CACTicino Center of Contemporary Art, Bellinzona, Switzerland, 2003. (Photo Thomas Banfi)

Programmed Machines. Post-screen works: Computer sigillati/Sealed Computers (1992-)

“Le installazioni di  Computer sigillati erano come officine metafisiche, ambienti-processo con centinaia di macchine programmate per generare flussi di immagini inesauribili e lasciate funzionare senza schermo.......

“Il desiderio di creare immagini immense ricorre nella storia dell'arte, ma č irrealizzabile nel tempo di cui dispone l'artista: in queste installazioni
l'azione artistica č delegata al tempo infinito della macchina......

Centinaia di computer programmati  per generare flussi inesauribili di immagini casuali e lasciati funzionare all'infinito (serie IMs, Naa, Atlas2). Dal 1992 alcune macchine sono state "sigillate" (serie Computer sigillati): 
le immagini vengono generate ininterrottamente ma senza poter diventare oggetti fisici.
Hundreds of computers were programmed to generate flows of continuously expanding random images and left to run ad infinitum
(IMs Naa, and Atlas2 series ). From 1992 some of these machines were "sealed" (Sealed Computers) in such a way that images are continuously generated but they are prevented from becoming physical objects.

Atelier de la Lanterne, Nice, France, 1997

In 1988 Maurizio Bolognini began using computers to generate a flow of continuously expanding random images (Programmed Machines/IMachines). In the 1990s, hundreds of computers have been programmed and left to run ad infinitum. In 1992 he also began to "seal" his machines (Sealed Computers) by closing up the monitor buses in such a way that they continued to produce images that no one would ever see.

"The project series Sealed Computers by Maurizio Bolognini points us to what might form the most significant line of force in the field of software-based art......
Andreas Broeckmann

"Bolognini's cryptic universe is silent and inaccessible as a galaxy. Generating images that would cover a surface area of approximately four square miles a month, the installation could feasibly cover every inch of the world." 
Lily Faust (NY Arts Magazine)

"The complete inaccessibility of the vast quantity of visual imagery created by the work references a technological sublimity of the void beneath the digital world....."
Benjamin Garfield (The Cyborg Subject)
"I do not consider myself an artist who creates certain images, and I am not merely a conceptual artist. I am one whose machines have actually traced more lines than anyone else, covering boundless surfaces. I am not interested in the quality of the images produced by my installations but rather in their flow, their limitlessness in space and time, and the possibility of creating parallel universes of information made up of kilometres of images and infinite trajectories. My installations serve to generate out-of-control infinities......" (MB)

Morra, Napoli, 2002

Museo Laboratorio di Arte Contemporanea, Roma, 2003

Maurizio Bolognini
Williamsburg Art & Historical Center, New York, 2003

"These machines have little to do with virtuality. The flow of images they have been generating without interruption for twenty years is non-material but real, and it has an existence independent of the observer. They are self-operating devices, machines programmed to operate at a minimum, in an abstract way, reduced to the essence. Arguably this makes them similar to conceptual research, although even this definition may seem inadequate, since here the medium and the theoretical object of the research are the same thing – and this opens up a new situation......" (MB)

"Some interesting points when reflecting on this aspect, comparing before and after in the new technologies, can also be found in some writings by Yves Klein. A few months ago I put on an exhibition in Nice and one of the works was ICB (Interactive Collective Blue), the initialism for my interactive and democratic blues, which, as I was in Nice, recalled IKB (International Klein Blue). So I read some things by Klein and in particular the Chelsea Hotel Manifesto, where he wrote: 'Would not the future artist be he who expressed through an eternal silence an immense painting possessing no dimension?'. Here we have everything: silence, the infinite sequence, the different spatial dimension. Obviously Klein was referring to his own work, but it is (perhaps by chance, as often happens in art) a prophetic statement which can be more properly applied to the new technologies. The correspondences with some characteristics of my Programmed Machines may seem surprising, although it really only depends on the fact that the idea of silent, immense images in continuous expansion has always been one of the aspirations entertained by artists. Creating universes… Klein expressed this using words like 'silence', 'eternal', 'immense'. These machines work in silence (and in some case blindly, even denying the spectator the opportunity to view the images produced) and work uninterruptedly, in time and space........." (MB)


Sealed series (1992-)

Museo di Arte Contemporanea Villa Croce, Genova, 2003


Atelier de la Lanterne, Nice, France, 1997

Maurizio Bolognini
Institut Culturel Italien, Maison de l'Italie, Paris, 1998

Museo Laboratorio di Arte Contemporanea, Roma, 2005

PAN-Palazzo delle Arti, Napoli, 2005

Neon, Bologna, 1998

Cacticino Center of Contemporary Art, Switzerland, 2000

Santa Maria delle Grazie, Ferrara, 1999

 Museo di Arte Contemporanea Villa Croce, Genova, 2005