UBERMORGEN
UBERMORGEN (Engl.: the day after tomorrow, CH/AT/US, *1995) is an artist duo with a steady ascending worldwide presence, a synthesis of autistic actionist lizvlx (Liz Katlein, she) and pragmatic visionary Luzius Bernhard (they). The net.art pioneers, master deducers, and media hackers are widely recognized for their online activism, haute couture NFTs and websites, polarising social experiments, radical research and empathy, dark AI, nonbinary primitivism, and conceptualism.
CNN called them "Maverick Austrian Business People" during their VOTE-AUCTION online project. They reached a global audience of 500 million while challenging the FBI, CIA, and NSA during the U.S. presidential election. In 2005, they launched their acclaimed EKMRZ TRILOGY, a series of conceptual hacks: GOOGLE WILL EAT ITSELF, AMAZON NOIR, and THE SOUND OF EBAY.
UBERMORGEN occupies 175 domains. In 2021, THE NEXT BIENNIAL SHOULD BE CURATED BY A MACHINE (Whitney Museum of American Art) used AI and TikTok to catapult visitors into 64 twisted parallel universes. In 2021, they have started to challenge crypto art by creating, among others, deeply nostalgic pixel art such as THE D1CKS, hand-pixelated 1 of 1 haute couture NFTs.
Their exhibition history includes the Whitney Museum of American Art, New York; the MoMA PS1, New York; New Museum, New York; Somerset House, London; Haifa Museum of Art, Israel/Palestine (2019); Wei-Ling Contemporary, Kuala Lumpur, Malaysia; HKW, Berlin; ZKM, Karlsruhe, Germany; National Art Gallery, Bulgaria (2017); ICA Miami, USA; Mahatma Gandhi Institute, Mauritius (2015); Serpentine Galleries, London (2014); Kunsthal Aarhus, Denmark; Ars Electronica, Austria; MoMA Ljubljana, Slovenia; ArtScience Museum, Singapore (2013); 3331 Arts Chiyoda, Japan (2012); Centre Pompidou, Paris; Gwangju Design Biennale, Korea; WRO Media Art Biennale, Wrocław, Poland (2011); Prague Biennale, Czech Republic (2009); Biennale of Sydney, Australia (2008); MOCA Taipei (2007); The Premises, Johannesburg, South Africa; ICC Tokyo, Japan (2005); SFMOMA, USA (2001).
