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UBERMORGEN.COM is a Swiss-Austrian-American artist duo founded in 1995 and consisting of lizvlx and Luzius Bernhard.[1] Adam Wishart, Regula Bochsler, Leaving Reality Behind: etoy vs eToys.com & other battles to control cyberspace, Ecco, 2003 () They live and work in Basel, S-chanf near St. Moritz and in Vienna, where both are professors at the University of Applied Arts Vienna. Haas, Liz Univ.-Prof. Mag. rer. soc. oec. - Contact - dieAngewandte Bernhard, Luzius Univ.-Prof. Mag.art. - Contact - dieAngewandte
Their early works were media hackingLentos Museum of Modern Art (ed), Just do it!, Edition Selene, Vienna 2005 () "Netzpiraten. Die Kultur des elektronischen Verbrechens", Armin Medosch and Janko Röttgers, Heise / Telepolis, Vote-auction, Ars Electronica Jury-Hack and etoy, p. 69-88 () projects using low-tech tools to reach very large audiences. During the work on their best known project Voteauction (2000) CNN.com called them "Maverick Austrian Businessmen". The project resulted in an onslaught of lawsuits issued by Illinois, Texas, Arizona, California, Missouri, Massachusetts, and Wisconsin.
In 2001, they started a collaboration with Christoph Schlingensief for the development and staging of a Hamlet project in Zurich: NAZI~LINE, a bigger than life fake neo-Nazi helpline and exit strategy finding agency.
In 2005 they started the EKMRZ Trilogy, a series of conceptual hacks (GWEISlavo Krekovic, Will Google Eat Itself? , Springerin.at Culture Jamming – Interview with Hans Bernhard – Google Will Eat Itself, Amazon Noir and The Sound of eBay).
Between 2007–2011 their focus went into research-based productions (Superenhanced, WOPPOW, KRAFT Series) UBERMORGEN.COM Manifesto , RC1 (release-copy 1) presented at "Positions in Flux" Symposium, The Netherlands Media Art Institute Amsterdam, 8.5.2009, published online Vienna, 28.7.2009 and Rock Art productions such as TORTURE CLASSICS TORTURE CLASSICS PROJECT 2010, UBERMORGEN.COM feat. James Powderly and CLICKISTAN (commissioned by the Whitney Museum of American Art). CLICKISTAN PROJECT 2010 They started to work extensively with video during this period.
In 2013 they released The Project Formerly Known As Kindle Forkbomb.
Since 1999 their work has been shown in museums and galleries in Europe, United States, Africa, Australia and Asia and include venues such as SFMOMA, Centre Pompidou, Konsthall Malmoe, NTT ICC Museum Tokyo, Gwangju Design Biennale, ZKM Karlsruhe, MUMOK Vienna, Ars Electronica Linz, WRO Media Art Biennale Wrocław, MoCA Taipei, Witte de With Rotterdam, Lentos Art Museum Linz, Biennale of Sydney, ARCO Madrid and the New Museum New York.[13][14] Alessandro Ludovico (ed), UBERMORGEN.COM – MEDIA HACKING VS. CONCEPTUAL ART, Christoph Merian Verlag, Basel 2009 (), p.198-299
They have been represented by Fabio Paris Brescia, DAM Berlin and Carroll / Fletcher London.
Carrying on with their principles of "radical corporative marketing strategy" (media hacking), the artists produced an effective and credible interface which helps creating one's own documented cease-and-desist request, which is then automatically sent to the DNS administrators, to the site's owner and to some journalists to trick them into supporting the "public trial".
The project is published at ipnic.org, an acronym which mimics the official protocols (Internet Protocol - Network Information Center), revisited as "Internet Partnership for No Internet Content".
This sarcastic provocation (a "public shutdown service") was conceived after experiencing a similar mishap during the Voteauction art project, which in 2000 invited American citizens to put up their vote for auction. At the time an email injunction by an American court was sent to the Swiss internet service provider hosting the site, who immediately took them offline even though emailed documents aren't legally considered official and even though Switzerland is outside of American jurisdiction.
Lizvlx was born in Linz (AT) and grew up in Wels, Salzburg and Elmira (Upstate New York). Luzius Bernhard was born at the Yale University Hospital in New Haven (USA), grew up in New Haven and Basel (CH) and moved to Vienna (AT) to study with Prof. Peter Weibel, and later on with Prof. Lev Manovich (UCSD), Prof. Peter Lunenfeld (Art Center College of Design) Pasadena and Prof. Bazon Brock (emeritus) Bazon Brock (Wuppertal) and completed his studies in 1999.
Due to his drug abuse and a mania episode in Cape Town 2002, Luzius Bernhard was diagnosed bipolar disorder.[18] HOLY FIRE, Art at the digital age, Psych|OS project, Courtesy Fabio Paris Art Gallery, Brescia[19] Scriptum, first UM.COM/Hans Bernhard lecture on "Drugs&Art" after the manic episode 2002, University of Applied Arts Vienna[20] Psych|OS Cycle by UBERMORGEN.COM, 2001–2010
Their earliest works were part of the avantgarde Net.art movement (etoy,[21] The Guardian, Excerpted from Leaving Reality Behind by Adam Wishart and Regula Bochsler (Fourth Estate)[22] AG Borderline-Kongress (ed), BORDERLINE – Strategien u. Taktiken f. Kunst u. soziale Praxis, Wiesbaden 2002, p.33-42, Reinhold Grether on"Wie die etoy Kampagne gefuehrt wurde – ein Agentenbericht" () 1994–1998, 194.152.164.137,[23] Authorized copy of 194.152.164.137, a collaborative project by lizvlx and Andrea Mayr 1996) and were exclusively shown online (World Wide Web/WWW).[24] Christian Ulrik Andersen, Soeren Bro Pold (eds), Interface Criticism. Aesthetics Beyond Buttons, Aarhus University Press, Aarhus 2011 ()ftp://afrolinux.org/books/ConnessioniLeggendarie.pdf Exhibition Catalogue Connessioni Leggendarie, Net.Art 1995–2005, ready+made publisher, online version, PDF, [25] Digimag09/NOV05, Review by Marco Mancuso This work became part of the Internet art and Digital art history and is researched at universities (, thesis)[26] Whitney Museum of American Art, 2010 Annual Fund Project, About the artistsDas Kunstwerk der Zukunft Inga Reimers writes in her masters thesis "(Selbst-)Inszenierung – Praxis – Kunst. Eine kulturwissenschaftliche Annäherung an das „hybrid Gesamtkunstwerk ubermorgen.com“ about the relation of the "Gesamtkunstwerk" and Richard Wagner "Das Kunstwerk der Zukunft" [27] , Universität Hamburg, 2009 and taught in (Art history).[28] Interview with Wolf Lieser about: "WOLF LIESER – DIGITAL ART – NEUE WEGE IN DER KUNST/THE WORLD OF DIGITAL ART", h.f. ullmann publisher / DAM Berlin – Galerie für Digitale Kunst, 2010
The collaboration with both their children (Superenhanced[29] Superenhanced project, [30] Superenhanced Generator[31] Keynote & Superenhanced Installation at ISEA09 in Belfast, Northern & Spielendes Baby – Schlafendes Baby (original title)[32] [33] Project website and images, Installation exhibited 18.2. – 29.2.2004 at Kunsthaus), the inclusion of Luzius's mental illness and the merger of private and public life led some critics and academics to consider UBERMORGEN.COM as a Gesamtkunstwerk.[34] Cornelia Sollfrank, 2009, "Das Genie von übermorgen"
Important personal and artistic influences were early meetings with Jean Tinguely, Joseph Beuys, Daniel Spoerri and Eberhard W. Kornfeld in the Basel art scene of the 1980s and with Niki de Saint Phalle[35] Niki de Saint Phalle 29.10.1930 Neuilly – 21.5.2002 San Diego in St. Moritz, and the long-time relationship (going back to 1916 during the first world war and the purchase of a Giovanni Giacometti painting by the grand-grandfather of Luzius Bernhard) with the Giacometti family (Giovanni Giacometti, Alberto Giacometti) in the nearby mountain valleys Val Bregaglia and Engadin in the canton Grisons in Switzerland.Letters, photos, sales contract and the painting are in the ownership of the Bernhard/Pernisch/Plattner family, archived in S-Chanf and Basel/Switzerland
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