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

"Le installazioni di Computer sigillati sono delle officine metafisiche. Centinaia di macchine programmate per generare flussi inesauribili di immagini casuali e lasciate funzionare all’infinito."

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 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 series) in such a way that images are continuously generated but they are prevented from becoming physical objects.

Maurizio Bolognini  Maurizio Bolognini 
Museo di Arte Contemporanea Villa Croce, Genova, 2005

In 1988 Maurizio Bolognini began using computers to generate a flow of continuously expanding random images (Programmed Machines series): hundreds of computers were programmed and left to run ad infinitum.
In 1992 he began to "seal" his machines (Sealed series) 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)

"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)

 
Atelier de la Lanterne, Nice, France, 1997


Morra, Napoli, 2002


Museo Laboratorio di Arte Contemporanea, Roma, 2003

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

Maurizio Bolognini
CACTicino Center for Contemporary Art, Switzerland, 2003



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

"My machines do not know whether they want to be considered art. All they know is that they want to function without interruption, and they are not bothered about where this happens. Usually they produce tangles of lines that can stream out mile upon mile before your eyes.
They get along with your phone and with e-democracy, which they use to hook up with the public, but they cannot stand hi-tech. What they have in common with new media art is the fact that we are part of an epoch-making technological upheaval whose implications need to be understood. However, they have nothing to do either with digital activism or with technological experimentation as an end in itself. 
They also 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, empty 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." [M. Bolognini, Machines, Postmedia Books, Milano, 2012].