Editing Ubermorgen (section)

== Work ==
Their main body of work consists of [[internet art]]/[[net.art]], [[Installation art|installation]], video art,<ref>[http://newmediafix.net/daily/?p=958 Gamescenes: the book], M. Bittanti, D. Quaranta (eds), GameScenes. Art in the Age of Videogames, Milan, Johan & Levi Editore, Milano 2006 ({{ISBN|978-8860100108}})</ref><ref>Domenico Quaranta, Yves Bernard (eds), Holy Fire. Art of the Digital Age, FPEditions, Brescia 2008 ({{ISBN|978-8890330865}})</ref>{{citation needed|reason=See Talk page "Bad Citation / ISBN"|date=June 2015}} photography, [[software art]],<ref>Olga Goriunova, Alexei Shulgin (eds), THE READ_ME Software Art & Cultures, Aarhus 2004 ({{ISBN|978-87-988440-4-4}})</ref> performance and uses the convergence of [[Digital data|digital]] media<ref>[http://cre.fm/cre132-ubermorgen-com UBERMORGEN.COM at CRE/Chaos Radio with Tim Pritlove] (German)</ref> to produce and publish [[online]] and offline.<ref>[http://we-make-money-not-art.com/the_first_panel_of_positions_1/ WMMNA/we-make-money-not-art UBERMORGEN.COM Interview]</ref><ref>Christine Böhler, Literatur im Netz, Triton Verlag, Wien 2001 ({{ISBN|3-85486-103-6}}), p92, Interview with UBERMORGEN.COM</ref>

Their early works were ''media hacking''<ref>Lentos Museum of Modern Art (ed), Just do it!, Edition Selene, Vienna 2005 ({{ISBN|3-85266-267-2}})</ref><ref>[https://www.scribd.com/doc/89006/Armin-Medosch-Janko-Rottgers-Netzpiraten-Die-Kultur-des-elektronischen-Verbrechens "Netzpiraten. Die Kultur des elektronischen Verbrechens"], Armin Medosch and Janko Röttgers, Heise / Telepolis, [V]ote-auction, Ars Electronica Jury-Hack and etoy, p. 69-88 ({{ISBN|388229-188-5}})</ref> 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".<ref>{{cite web|url=http://transcripts.cnn.com/2000/TECH/computing/08/24/internet.vote/index.html |title=Vote-selling Web site to be revived, possibly offshore |website=CNN.com |date=August 2000 |url-status=dead |archiveurl=https://web.archive.org/web/20121023231003/http://transcripts.cnn.com/2000/TECH/computing/08/24/internet.vote/index.html |archivedate=October 23, 2012 }}</ref> The project resulted in an onslaught of lawsuits issued by Illinois, Texas, Arizona, California, Missouri, Massachusetts, and Wisconsin.<ref>{{Cite journal|last=Steinberg|first=Monica|date=2021-07-03|title=Coercive Disobedience: Art and Simulated Transgression|url=https://doi.org/10.1080/00043249.2021.1920288|journal=Art Journal|volume=80|issue=3|pages=78–99|doi=10.1080/00043249.2021.1920288|s2cid=237576098 |issn=0004-3249|url-access=subscription}}</ref>

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 (GWEI<ref>Slavo Krekovic, [http://www.springerin.at/dyn/heft.php?id=47&pos=1&textid=1756&lang=en Will Google Eat Itself?], Springerin.at</ref><ref>[http://www.culture-jamming.de/interviewIe.html Culture Jamming – Interview with Hans Bernhard]</ref> – [[Google]] Will Eat Itself, [[Amazon.com|Amazon]] Noir and The Sound of [[eBay]]).

Between 2007–2011 their focus went into research-based productions (Superenhanced, WOPPOW, KRAFT Series)<ref>[http://ubermorgen.com/manifesto 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</ref> and Rock Art productions such as TORTURE CLASSICS<ref>[http://tortureclassics.com TORTURE CLASSICS PROJECT 2010], UBERMORGEN.COM feat. James Powderly</ref> and CLICKISTAN (commissioned by the Whitney Museum of American Art).<ref>[http://clickistan.org CLICKISTAN PROJECT 2010]</ref> They started to work extensively with video during this period.

Since 1999 their work has been shown in museums and galleries in Europe, [[United States|America]], 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.<ref>[http://ubermorgen.com/books/UBERMORGEN_highres.pdf][https://www.amazon.de/dp/385616460X] Alessandro Ludovico (ed), UBERMORGEN.COM – MEDIA HACKING VS. CONCEPTUAL ART, Christoph Merian Verlag, [[Basel]] 2009 ({{ISBN|978-3856164607}}), p.198-299</ref>

They have been represented by Fabio Paris [[Brescia]], [DAM] Berlin and Carroll / Fletcher London.

===Injunction generator===
The '''Injunction Generator''' is an [[Internet art|artistic]] [[software]] module by Ubermorgen which claims to generate on request legal [[injunction]]s and personalized documentation in .rtf/.pdf format to force a website into taking its contents offline.

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 [[Domain Name System|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.