Selected group exhibitions include Konsthall Malmoe, NTT ICC Tokyo, Lentos Museum of Modern Art, SFMOMA, Kunsthaus Graz, Ars Electronica, KOP Taiwan, EXPO.02 Switzerland, Aldrich Contemporary Art, Museu d`Art Contemporani de Barcelona, Secession, Museum of Contemporary Art Tokyo
Solo exhibitions: The Premises Gallery Johannesburg, Kunsthaus Graz, Kunsthalle St. Gallen, Blasthaus Gallery San Francisco, c3 Budapest. He received many awards including Golden Nica, Prix Ars Electronica 1996, Award of Distinction, Prix Ars Electronica 2005, Honorary mention, Prix Ars Electronica 2003 & 2005.
Behind UBERMORGEN.COM we can find one of the most unmatchable identities – controversial and iconoclast – of the contemporary European techno-fine-art avant-garde. Their open circuit of conceptual art, drawing, software art, pixelpainting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk.. The
computer and the network are (ab)used to create art and combine its multiple forms. The
permanent amalgamation of fact and fiction points toward an extremely expanded concept of one’s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). “Ubermorgen” is the German word both for “the day after tomorrow” or “super-tomorrow”.
The ART FID (2005) series features some digital prints on canvas which portray, magnified on a monochrome background, the structure of some round RFID chips. The ART FID series have been shown for the first time during ART 36 Basel, announced by a press release – a media hack in pure. UBERMORGEN.COM's style – talking about an experimental initiative by the same Art Basel: the introduction of the RFID technologies into the art system, providing visitors immediate access to information about all artistic works being presented, as well as access for gallerists into the financial situation and the purchasing power of potential buyers. Third step: from pixel to individual and social body. In other words, with the ART FID (2005) series UBERMORGEN.COM tells us – using the visual impact of a suprematist painting - about this mix between biotechnologies and digital technologies, and between hardware, software and wetware: a never ending overlapping of contiguous levels that is shaping our identity, and that, by now, already shaped UBERMORGEN.COM's one. The latest review of UBERMORGEN in ARTFORUM presents their collaborative project GWEI—aka - Google Will Eat Itself—to tackle Google's dominance of the internet. As Die Presse's Daniela Tomasovsky reports:” GWEI—created by ubermorgen.com's lizvlx and Hans Bernhard along with Alessandro Ludovico and Paolo Cirio—exploits Google's own online financing-through-advertising system. "GWEI anonymously gives Google access to numerous advertising spaces, which are invisibly linked to each other," explains Tomasovsky. "Clicking on one of these pages triggers clicks on all of the other pages, and Google has to pay for them."
 Art Fid 100 x 100 cm, digital prints on canvas, unique copies |
 Art Fid 100 x 100 cm, digital prints on canvas, unique copies |
 Art Fid 100 x 100 cm, digital prints on canvas, unique copies |
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Courtesy Jacob Lillemose, Overgaden Contemporary Art Institute, Copenhagen (Denmark)