UBERMORGEN

UBERMORGEN

“The day after tomorrow,” CH/AT/US, est. 1995

UBERMORGEN is a media-art collective operating at the volatile interface of art, technology, and power. Since the mid-1990s the group has investigated the infrastructures of the information society: networks, algorithms, markets, and the political economies that govern them. Their practice emerges from the historical moment of early net.art, yet quickly exceeded its boundaries by transforming the internet itself into a performative arena where legal systems, financial structures, and media ecologies collide.

Their breakthrough project Vote-Auction (2000) demonstrated how artistic intervention can reveal the latent contradictions of digital democracy. By offering U.S. presidential votes for sale online, the project exposed the transactional logic already embedded in contemporary politics. The global reaction, from mass media attention to investigations by American federal agencies, became an integral part of the artwork itself. In this sense, UBERMORGEN’s work does not merely represent systems; it activates them.

In the mid-2000s the collective developed the EKMRZ Trilogy, a sequence of projects addressing the hidden architectures of global e-commerce. By engaging with the infrastructures of Amazon, eBay, and Google, UBERMORGEN revealed how algorithmic capitalism produces new regimes of visibility, value, and control. Their practice transforms corporate platforms into aesthetic laboratories, demonstrating that the digital economy itself has become a performative medium.

Recent works expand this inquiry into artificial intelligence and machine culture. Projects such as UNINVITED combine AI processes with surveillance imagery, constructing a disturbing visual language of automated perception. Later works, including PMC Wagner Arts and The Silver Singularity, interrogate the speculative economies of AI, geopolitics, and the contemporary art system itself.

UBERMORGEN’s projects have been presented in major museums and biennials worldwide, including the Whitney Museum of American Art, MoMA PS1, Centre Pompidou, the Louvre, the Biennale of Sydney, Liverpool Biennial, KW Institute for Contemporary Art, SFMOMA, ICA Miami, the National Museum of China, the Serpentine Galleries, Museo Reina Sofía, the New Museum, Ars Electronica, ZKM, and the Busan Biennale.

Their work demonstrates that in the network age the artwork is no longer a static object but a dynamic intervention within technological systems. UBERMORGEN turns infrastructures into artistic material, with the global network serving as a stage of aesthetic conflict.