Maurizio Bolognini is a post-conceptual media artist. His installations are mainly concerned with the aesthetics of machines, 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.
Maurizio Bolognini (2004)
Sealed Computers (Nice, 1997). This installation uses computer codes to create endless flows of random images which will never be accessible for viewing.
SMSMS-SMS Mediated Sublime/CIM series (computer, audience cell phones, video projector), Imola, Italy, 2006: an interactive installation that aims to involve the audience in the experience of the manipulation and consumption of the technological sublime.
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 aesthetic and material concerns. The term first came into art school parlance through the influence of John Baldessari at the California Institute of the Arts in the early 1970s. The writer Eldritch Priest, specifically ties John Baldessari's piece Throwing four balls in the air to get a square from 1973 as an early example of post-conceptual art. It is now often connected to generative art and digital art production.
Maurizio Bolognini, Sealed Computers (Nice, France, 1997). This installation uses computer codes to create endless flows of random images which will never be accessible for viewing. Images are continuously generated but they are prevented from becoming a physical artwork.