2024-12-27 –, Saal 1
Language: Deutsch
UBERMORGEN infiltriert Kunst, Medien und digitale Monokulturen mit subversiver Affirmation. Wie Donald Trump auch, zerstören sie täglich ihr Geschäftsmodell, um daraus radikal neue Lösungen zu schaffen. Anhand von Projekten wie Vote-Auction, Google Will Eat Itself und PMC Wagner Arts dokumentieren sie ihre künstlerische Evolution im Never-Ending Now. Chaos ist ihre Methode, Kunst ihre Neue Ehrlichkeit, Klarheit ihre Waffe.
Der Vortrag, eine Mischung aus emotionalem Appell und intellektueller Analyse, thematisiert die Notwendigkeit von Klarheit und bewusster Simplifizierung als Gegengewicht zum Streben nach Perfektion in einer Welt der wahrgenommenen und effektiven Hyperkomplexität. UBERMORGEN stellt infrage, wie viel künstlerische Freiheit im aktuellen Zeitalter der „Happy Dystopia“ noch bleibt, respektive was ‘Radikaler Universalismus’ (Abstraktion zwecks Mustererkennung) für weitläufige Möglichkeiten in der Praxis eröffnen, und beleuchtet, wie ihre neuesten Werke das Potenzial kritischer Ästhetik und radikaler Experimente inmitten einer fragmentierten Informationslandschaft ermöglichen.
UBERMORGEN is a bold and uncompromising team known for their feral energy and a relentless rise on the global art stage. Admired for their Digital Haute Couture Pixel Aesthetics, Dark AI, Media Hacking, and Polarizing Research, Artfacts defines the net.art pioneers’ work as ‘peak hyper contemporary.’ CNN called them ‘Maverick Austrian Business People’ for their Vote-Auction project, which reached half a billion people and drew the ire of the FBI, CIA, and NSA. Mid 2000s, their ‘EKMRZ Trilogy’ disrupted the 3 biggest e-commerce giants, in 2017, they released the first ever AI project at the Liverpool Biennale, while blending AI with CCTV horror in their ‘UNINVITED’ project. During the crypto hype, ‘The D1cks’ conquered traditional auction houses, and recent retro AI projects ‘PMC Wagner Arts’ (KW Berlin), and ‘The Silver Singularity’ (Busan Biennale) pushed elitism in art to the absolute maximum.
Selected Exhibitions:
Whitney Museum, MoMA PS1, Centre Pompidou, Gwangju Biennale, Louvre Paris, Biennale of Sydney, Liverpool Biennial, KW Institute for Contemporary Art, SFMOMA, MOCA Taipei, ICA Miami, The National Museum of China, Serpentine Galleries, Kunsthal Aarhus, Chronus Shanghai, Museo Reina Sofia, New Museum, Somerset House, Haifa Museum of Art, The Hermitage Museum, HKW Berlin, ZKM, HMKV, National Art Gallery Sofia, Ars Electronica, ArtScience Singapore, 3331 & ICC Tokyo, WRO Media Art Biennale, Prague Biennale, Busan Biennale, The Bogotá Museum of Modern Art.
UBERMORGEN (‘the day after tomorrow’, CH/AT/US, *1995) is a clean and ungrateful artist duo. Rebels with a steadily ascending worldwide presence, they represent the apex of risk in contemporary art. The synthesis of autistic actionist lizvlx aka Liz Haas & hyperactive visionary Lúzius Bernhard, amplified by linguistic contrarian Billie Bernhard. Net.art pioneers, master deducers’, and media hackers’ are widely recognized for their online actionism, haute couture websites & NFTs, their polarizing social experiments, radical empathy, dark AI, nonbinary primitivism, and conceptual research. Artfacts proclaim their work as the epitome of ‘hyper contemporary’. CNN called them 'Maverick Austrian Business People' during their Vote-Auction project, reaching 500 million worldwide & challenging the FBI, CIA, & NSA (US presidential election 2000). A series of conceptual hacks (EKMRZ Trilogy, 2005-08) shook the foundations of the dominating e-commerce giants: ‘Google Will Eat Itself’, ‘Amazon Noir’, & ‘The Sound of eBay’. In 2021, ‘The Next Biennial Should be Curated by a Machine’ used AI-TikTikPop to catapult visitors into 64 twisted parallel universes. Today ‘UNINVITED’ AI Horror Film and crypto Art collide to create deeply nostalgic synthetic organisms, and ‘The D1cks’, hand-pixelated 1 of 1 Haute Couture NFTs reveal ‘L‘Origine du pixel’ and are leveraged by indirect art washing commissions such as PMC Wagner Arts.
Regulate us!
UBERMORGEN's work has been exhibited worldwide, often in digital spaces. Exhibitions: Liverpool Biennial, Whitney Museum, MoMA PS1, Centre Pompidou, Gwangju Biennale, Louvre Paris, Biennale of Sydney, KW Institute for Contemporary Art, SFMOMA, MOCA Taipei, ICA Miami, The National Museum of China, Serpentine Galleries, Kunsthal Aarhus, Chronus Shanghai, Museo Reina Sofia, New Museum, Somerset House, Haifa Museum of Art, The Hermitage Museum, St Petersburg, Wei-Ling Kuala Lumpur, HKW Berlin, ZKM, HMKV, National Art Gallery Sofia, Ars Electronica, Busan Biennale, The Bogotá Museum of Modern Art, ArtScience Singapore, 3331 Tokyo, WRO Media Art Biennale, Prague Biennale, ICC Tokyo.
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