Maurizio Bolognini

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.

From the beginning (1988), this series introduced the concept of infinity into his work,[5] and focused on "the experience of the disproportion (and disjunction) between artist and the artwork, which is made possible by computer-based technologies";[6] — the space-time flows of technological communication, and the interplay of geographical and electronic space, which gave rise to works such as Altavista (1996),[7] Antipodes (1998),[8] 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;[9] — 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)[10] and ICB (Interactive Collective Blue, 2006).

The show included works by Roy Ascott (English), Maurizio Bolognini (Italian), Fred Forest (French), Richard Kriesche (Austrian) and Mit Mitropoulos (Greek).

"[14] 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) [15] are considered among his most significant works.

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”.