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Maurizio Bolognini (born July 27, 1952) is a
— the possibility of delegating his artistic action to the infinite time of the machine, such as in his ''Programmed Machines''. From the beginning (1988), this series introduced the concept of infinity into his work, and focused on "the experience of the disproportion (and disjunction) between artist and the artwork, which is made possible by computer-based technologies";
— the space-time flows of technological communication, and the interplay of geographical and electronic space, which gave rise to works such as ''Altavista'' (1996), ''Antipodes'' (1998), and ''Museophagia'' (1998–99), in which the use of web-based communication flows focused on their physical infrastructure and was often combined with actions taken over long distance travels;
— the introduction of new forms of interactivity based upon structured communication techniques and e-democracy, which he used in works such as the ''CIMs'' (Collective Intelligence Machines, since 2000) and ''ICB'' (Interactive Collective Blue, 2006).
Some of these works were developed through intense cooperation with Artmedia, the Laboratory of the Aesthetics of Media and Communication, University of Salerno, and the Laboratory Museum of Contemporary Art (MLAC), Sapienza University of Rome. In 2003 the MLAC published a monograph book on Bolognini's work. In 2004 Artmedia organized a show which was aimed to highlight a European tendency in new media art, based on the concept of the ''technological sublime''. The show included works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French),
In 1988, Bolognini began using personal computers to generate flows of continuously expanding random images. In the 1990s, he programmed hundreds of these computers and left them to run ad infinitum (most of these are still working now). About his ''Programmed Machines'' he wrote: "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 formal 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."
The ''Programmed Machines'' (and in particular the ''Sealed Computers'', since 1992, whose monitor buses are closed with wax and whose graphic outputs cannot be displayed) are considered among his most significant works. These Machines were exhibited in many museums and art galleries, in Europe and the United States. In 2003 some sixty Machines were exhibited in three simultaneous shows arranged at the Laboratory Museum of Contemporary Art in Rome, the CACTicino Center for Contemporary Art in Switzerland, and the Williamsburg Art & Historical Center in New York. In 2005 the Villa Croce Museum of Contemporary Art, Genoa, dedicated a retrospective and a monograph to these works.
Since 2000, Bolognini has concentrated on combining the Programmed Machines with communication devices, as in the ''Collective Intelligence Machines''. These are interactive installations connecting some of his generative machines to the mobile telephone network, to allow a real-time Delphi-like interaction by members of the public. These installations delegate choices to both electronic devices and processes of communication and e-democracy with the aim of involving the audience in new forms of “generative, interactive and public art”.
Maurizio Bolognini's work has been considered relevant to the theory of the ''technological sublime'' and the aesthetics of flux (as opposed to the aesthetics of form), and has been seen as a further development of conceptual art within neo-technological art.Sandra Solimano, "Metaphors and Moves", in ''Maurizio Bolognini. Personal Infinity'', Brescia: Nuovi Strumenti, pp. 17-18; Robert C. Morgan, "Maurizio Bolognini: The Problematic of Art", Luxflux, 4, 2004, p. 96.
Official site for Maurizio Bolognini
{{DEFAULTSORT:Bolognini, Maurizio Italian contemporary artists New media artists Mass media theorists Transdisciplinarity Living people Postmodern artists 1952 births
Maurizio Bolognini (born July 27, 1952) is a post-conceptual
Post-conceptual, postconceptual, post-conceptualism or postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work takes some precedence over traditional ...
media artist. His installations are mainly concerned with the aesthetics of machine
A machine is a physical system using Power (physics), power to apply Force, forces and control Motion, movement to perform an action. The term is commonly applied to artificial devices, such as those employing engines or motors, but also to na ...
s, and are based on the minimal and abstract activation of technological processes that are beyond the artist's control, at the intersection of generative art, public art and e-democracy
E-democracy (a combination of the words electronic and democracy), also known as digital democracy or Internet democracy, is the use of information and communication technology (ICT) in political and governance processes. The term is be ...
.
Background
Maurizio Bolognini was born in Brescia, Italy. Before working as a media artist, he received degrees in Urban studies and Social science from the University of Birmingham, UK, and the Università Iuav di Venezia. He worked extensively as a researcher in the field of structured communication techniques (such as the real-time Delphi method), and electronic democracy, which he later used in some interactive installations. His research interests and a wide range of artworks have focused on three main dimensions of digital technologies:
— the possibility of delegating his artistic action to the infinite time of the machine, such as in his ''Programmed Machines''. From the beginning (1988), this series introduced the concept of infinity into his work, and focused on "the experience of the disproportion (and disjunction) between artist and the artwork, which is made possible by computer-based technologies";
— the space-time flows of technological communication, and the interplay of geographical and electronic space, which gave rise to works such as ''Altavista'' (1996), ''Antipodes'' (1998), and ''Museophagia'' (1998–99), in which the use of web-based communication flows focused on their physical infrastructure and was often combined with actions taken over long distance travels;
— the introduction of new forms of interactivity based upon structured communication techniques and e-democracy, which he used in works such as the ''CIMs'' (Collective Intelligence Machines, since 2000) and ''ICB'' (Interactive Collective Blue, 2006).
Some of these works were developed through intense cooperation with Artmedia, the Laboratory of the Aesthetics of Media and Communication, University of Salerno, and the Laboratory Museum of Contemporary Art (MLAC), Sapienza University of Rome. In 2003 the MLAC published a monograph book on Bolognini's work. In 2004 Artmedia organized a show which was aimed to highlight a European tendency in new media art, based on the concept of the ''technological sublime''. The show included works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French), Richard Kriesche
Richard Kriesche (born 28 October 1940 in Vienna) is an Austrian artist. He is considered one of the most productive and influential contemporary artists in Austria.
Life and work
From 1958 to 1963 he studied at the Academy of Fine Arts and at ...
(Austrian) and Mit Mitropoulos (Greek).
Programmed Machines / Sealed Computers
In 1988, Bolognini began using personal computers to generate flows of continuously expanding random images. In the 1990s, he programmed hundreds of these computers and left them to run ad infinitum (most of these are still working now). About his ''Programmed Machines'' he wrote: "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 formal 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."
The ''Programmed Machines'' (and in particular the ''Sealed Computers'', since 1992, whose monitor buses are closed with wax and whose graphic outputs cannot be displayed) are considered among his most significant works. These Machines were exhibited in many museums and art galleries, in Europe and the United States. In 2003 some sixty Machines were exhibited in three simultaneous shows arranged at the Laboratory Museum of Contemporary Art in Rome, the CACTicino Center for Contemporary Art in Switzerland, and the Williamsburg Art & Historical Center in New York. In 2005 the Villa Croce Museum of Contemporary Art, Genoa, dedicated a retrospective and a monograph to these works.
Since 2000, Bolognini has concentrated on combining the Programmed Machines with communication devices, as in the ''Collective Intelligence Machines''. These are interactive installations connecting some of his generative machines to the mobile telephone network, to allow a real-time Delphi-like interaction by members of the public. These installations delegate choices to both electronic devices and processes of communication and e-democracy with the aim of involving the audience in new forms of “generative, interactive and public art”.
Maurizio Bolognini's work has been considered relevant to the theory of the ''technological sublime'' and the aesthetics of flux (as opposed to the aesthetics of form), and has been seen as a further development of conceptual art within neo-technological art.Sandra Solimano, "Metaphors and Moves", in ''Maurizio Bolognini. Personal Infinity'', Brescia: Nuovi Strumenti, pp. 17-18; Robert C. Morgan, "Maurizio Bolognini: The Problematic of Art", Luxflux, 4, 2004, p. 96.
See also
* Conceptual art *Post-conceptual
Post-conceptual, postconceptual, post-conceptualism or postconceptualism is an art theory that builds upon the legacy of conceptual art in contemporary art, where the concept(s) or idea(s) involved in the work takes some precedence over traditional ...
* Generative art
* New Media Art
* Public art
* Systems art
* Electronic art
* Interactive art
References
External links
Official site for Maurizio Bolognini
{{DEFAULTSORT:Bolognini, Maurizio Italian contemporary artists New media artists Mass media theorists Transdisciplinarity Living people Postmodern artists 1952 births