maurizio bolognini  
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Maurizio Bolognini
An interactive installation  (CIM series) which everybody can modify by using a cell phone. Art Palace, Cairo, 2008;  on right: Macro, Rome, 2011.

Thirty years ago Maurizio Bolognini began using computers and artificial intelligence to generate a flow of continuously expanding random images (Programmed Machine series). Hundreds of computers were programmed and left to run ad infinitum. 


      Maurizio Bolognini

Maurizio Bolognini

In 1992 he began to "seal" his machines (Sealed Computer series) by closing up the monitor buses, in such a way that they continued to produce images that no one would ever see. Most of these are still working now.

"The 'instructed' machines  [...] continue on their own, involving the temporal and spatial dimensions, tending towards a geographical vastness in which the image, the sign, become a process of measurement [...] between the real and the illusory dimensions.......
Angela Madesani

Maurizio Bolognini

"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)


 Maurizio Bolognini   

   Post-screen works (since 1992). 
    installations of Programmed Machines 
  on left: Atelier de la Lanterne, Nice, France, 1992-97








"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)

Maurizio Bolognini


Untitled (Stanza 11 series, a collection of objects engraved and scratched by the random trajectories of a laser device driven by Machine #11), 2006 

on right: More time more space (Machine Art), Galerie Depardieu, Nice, 2006.
Hundreds of persons who draw in the air, doing work similar to that of the Programmed Machines.

Maurizio Bolognini

Maurizio Bolognini





"In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations. In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public ......" (MB)

     Maurizio Bolognini

  Maurizio Bolognini

CIMs  (2005). Interactive, multiple installations made up of various locations, distant from each other, coordinated across the mobile phone network. 
Site 1: Museum of Contemporary Art, Genoa
Site 2: A street in the center of Genoa 

"Maurizio Bolognini's work is located in the narrow edge zone that separates the subject’s acceptance of, and surrender to, the preponderance of technology, from the residual determination to strive against it, which remains after all jubilatory human-centric self-illusion has been laid aside [...]. He is in perfect harmony with all our work on the aesthetics of communication and the technological sublime........."  
Mario Costa

  Maurizio Bolognini

"I must say that my first reading of his work, decidedly atypical compared to the rich bibliography about him, continues to seem to me to be a possible reading, which in some way disregards the position of Bolognini in the constellation of Technological Artists, and brings him back into what is for me the more familiar field of conceptual research and to one of the central themes of Conceptual Art, that of reflection on the great categories of existence, the coordinates of space and time. From Manzoni's Linea Infinita to On Kawara's One Million Years, from Anselmo's Infinito […], the attempts to arrest in an image or in an idea the elusive dimension of space (and thus of time) is a thread running through the artistic research of the latter half of the twentieth century which, in these and other artists, makes use of the categories of the metaphor and the symbol. Maurizio Bolognini's out-of-control infinities located (provisionally) at the end of this path, where there is a movement […] from the virtuality of the idea to a reality where space and time are truly (although only potentially) infinite......."   
Sandra Solimano

Maurizio Bolognini
   Installation of Programmed Machines 
    WAHCenter, New York, 2003

"Maurizio Bolognini - perhaps sub-conciously - must have some unfinished business with the Irish bishop George Berkeley (1685-1753), who maintained that esse est percipi et percipere, that is to say 'to be is to be perceived and to perceive'. His Sealed Computers will function over a long period of time, but the public eye will only perceive the machine and not the product. […] What allowed a leeway of meaning in what would otherwise be merely a 'manipulation' of signs was the ability to interpret data and results in a geometric context, where with senses like vision and touch, the 'doors of perception', concepts and formulae could be rendered spatially. It was this type of hermeneutics which Berkeley saw as the only way in which the work of a mathematician could be distinguished from that of a simple conjurer and his tricks. But it is this same coupling that here contemporary art is trying to break. The sign forgets, as it were, any established reference......."  
Giulio Giorello

Maurizio Bolognini

   Installation of Programmed Machines 
    CACTicino Center of Contemporary Art, Switzerland, 2003

Maurizio Bolognini


Maurizio Bolognini    Maurizio Bolognini      

 MPT (Museophagia Planet Tour), 1998-99

"Museophagia, the name says it all, means the tendency or habit of eating museums. It is something that the Internet is beginning to do right now, or at least it is taking nibbles. The first evidence of museophagia, in fact a kind of digital bulimia, was the attempt of Bill Gates, through a company called Corbys, to gobble up by fact of digitization and scanning all the contents of museums and galleries that Corbys deemed fit, to regurgitate them on line, at a cost, of course, via proprietary channels. 
Museophagia, the website and the subject of this book, is more modest in its intentions than those of Bill Gates, it merely purports to consume via digitization objects (furniture, fixtures etc.) that Maurizio Bolognini took from art galleries of various cities, during a world tour starting from the Cavellini Foundation Gallery. Fair game
Derrick de Kerckhove

"When I stand before a work by Maurizio Bolognini I feel: [...] contrary to the conviction of what one would call the de-subjectivised, de-passionalised ambit of this post-electronic age, I feel. I see as in a flash the gesture carried out around that time of showing the unshowable, as in the exhibitions le vide and le plein held in Paris at the Gallerie Iris Clert by artists who still thought that the product and not the concept represented the great future challenge. [...]  Bolognini, on the other hand, who also thinks of the present world - techno-productive, hard and soft - works at a 'decisional' level. He is 'political'. He handles machines, software, contexts, constituting a paradoxical pattern of 'modes of use', and only at the end (at the end of the decision and once the action has been made) will he perhaps clarify or give a glimpse of the non-sense that belongs as much to the work as to the appointed place........"
Simonetta Lux



main works  

Computer sigillati / Sealed Computers (1992-)
IMachines (IMs) (1988-)
WMachines (WMs) (1988-)
Maps / Mappe (1988-)
Room #11 / Stanza 11 (2007)
Game Addiction (2017)
Demoscopic installations / Installazioni demoscopiche (1997-99)
Altavista (1997) 
Antipodes (1998)
Museophagia (1998-99)
E-gouttoirs (1999-)
SMSMS (SMS Mediated Sublime), CIMs (Collective Intelligence Machines) (2000-)
Machine Art (2006-)
ICB (Interctive Collective Blue) (2006)
Extratime / Extratempo (2014)
-  Flesh (1989)
-  Interferenze (1992-)

-  Interactive Ascii Self-Portraits (1995)
-  Schermi firmati / Signed Screens (1996)
-  NAA (Nikkei Assisted Art) (1997)
-  Oltrearte (1997-)
-  AIMS (Artificial Intelligence Mediated Sublime (2001)
- (2003).....

-  more photos, including early works, are in works 1990-2017 (pdf)
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