Editing Ubermorgen (section)

==Life and career==

Lizvlx and Luzius Bernhard are an artist duo<ref>[http://www.artdaily.com/index.asp?int_sec=11&int_new=32348&int_modo=1] Art Daily "Artist Duo Ubermorgen.com Celebrate Tenth Anniversary with New Book"</ref><ref>[https://books.google.com/books?id=JV5tmI1u3acC&q=AG+Borderline-Kongress+BORDERLINE+Strategien] AG Borderline-Kongress (ed), BORDERLINE – Strategien u. Taktiken f. Kunst u. soziale Praxis, Wiesbaden 2002, p.21-32 ({{ISBN|3-8311-3775-7}})</ref> but also a couple in private life.<ref>[http://www.medienkunstnetz.de/artist/ubermorgen.com/biography/] Media Art Net / Medienkunstnetz, artist biography UBERMORGEN.COM</ref> They are engaged and have two children, Billie-Ada (2003) and Lola Mae (2007).

Lizvlx was born in Linz (AT) and grew up in [[Wels]], Salzburg and [[Elmira, New York|Elmira]] (Upstate New York). Luzius Bernhard was born at the Yale University Hospital in [[New Haven]] (USA), grew up in New Haven and [[Basel]] (CH) and moved to [[Vienna]] (AT) to study with Prof. [[Peter Weibel]], and later on with Prof. [[Lev Manovich]] (UCSD), Prof. [[Peter Lunenfeld]] ([[Art Center College of Design]]) [[Pasadena, California|Pasadena]] and Prof. Bazon Brock (emeritus) [[:de:Bazon Brock]] ([[Wuppertal]]) and completed his studies in 1999.

Due to his drug abuse and a [[mania|manic]] episode in [[Cape Town]] 2002, Luzius Bernhard was diagnosed [[bipolar disorder|bipolar]].<ref>[http://www.imal.org/HolyFire/en/?page_id=42] HOLY FIRE, Art at the digital age, Psych|OS project, Courtesy Fabio Paris Art Gallery, Brescia</ref><ref>[http://www.ubermorgen.com/lectures/univ_applied_art_09_2004/psychosx.html] Scriptum, first UM.COM/Hans Bernhard lecture on "Drugs&Art" after the manic episode 2002, [[University of Applied Arts Vienna]]</ref><ref>[http://ubermorgen.com/psychos/] Psych|OS Cycle by UBERMORGEN.COM, 2001–2010</ref>

Their earliest works were part of the avantgarde [[Net.art]] movement ([[etoy]],<ref>[https://www.theguardian.com/books/2002/aug/14/firstchapters.reviews] The Guardian, Excerpted from Leaving Reality Behind by Adam Wishart and Regula Bochsler (Fourth Estate)</ref><ref>[https://books.google.com/books?id=JV5tmI1u3acC&q=AG+Borderline-Kongress+BORDERLINE+Strategien] AG Borderline-Kongress (ed), BORDERLINE – Strategien u. Taktiken f. Kunst u. soziale Praxis, Wiesbaden 2002, p.33-42, Reinhold Grether on"Wie die [[etoy]] Kampagne gefuehrt wurde – ein Agentenbericht" ({{ISBN|3-8311-3775-7}})</ref> 1994–1998, 194.152.164.137,<ref>[http://www.ubermorgen.com/194/000.html] Authorized copy of 194.152.164.137, a collaborative project by lizvlx and Andrea Mayr</ref> 1996) and were exclusively shown online ([[World Wide Web]]/WWW).<ref>[http://www.transmediale.de/content/book-launch-interface-criticism-aesthetics-beyond-buttons-s%C3%B8ren-pold-christian-ulrik-2011] Christian Ulrik Andersen, Soeren Bro Pold (eds), Interface Criticism. Aesthetics Beyond Buttons, Aarhus University Press, Aarhus 2011 ({{ISBN|978-8779345041}})</ref><ref>[ftp://afrolinux.org/books/ConnessioniLeggendarie.pdf]{{dead link|date=May 2025|bot=medic}}{{cbignore|bot=medic}} Exhibition Catalogue Connessioni Leggendarie, Net.Art 1995–2005, ready+made publisher, online version, PDF, [http://www.digicult.it/digimag/article.asp?id=259]  Digimag09/NOV05, Review by Marco Mancuso</ref> This work became part of the [[Internet art]] and [[Digital art]] history and is researched at universities ([[dissertation]]s, thesis)<ref>[http://whitney.org/Membership/AnnualFund/2010/Artists] [[Whitney Museum of American Art]], 2010 Annual Fund Project, About the artists</ref><ref>[[Das Kunstwerk der Zukunft]] Inga Reimers writes in her masters thesis "(Selbst-)Inszenierung – Praxis – Kunst. Eine kulturwissenschaftliche Annäherung an das „hybrid Gesamtkunstwerk ubermorgen.com“ about the relation of the "Gesamtkunstwerk" and Richard Wagner "Das Kunstwerk der Zukunft" [http://www.ubermorgen.com/2010/pdfs/Selbstinszenierung-Praxis-Kunst_I.Reimers.pdf], Universität [[Hamburg]], 2009</ref> and taught in ([[Art history]]).<ref>[http://www.art-in-berlin.de/incbmeld.php?id=565&-DAMDAM] Interview with Wolf Lieser about: "WOLF LIESER – DIGITAL ART – NEUE WEGE IN DER KUNST/THE WORLD OF DIGITAL ART", h.f. ullmann publisher /  DAM Berlin – Galerie für Digitale Kunst, 2010</ref>

The collaboration with both their children (Superenhanced<ref>[http://ipnic.org/superenhanced] Superenhanced project, [http://www.superenhanced.com] Superenhanced Generator</ref><ref>[http://www.isea2009.org/images/catalogue2.pdf] Keynote & Superenhanced Installation at [ISEA]09 in [Belfast], [Northern Ireland]</ref> & Spielendes Baby – Schlafendes Baby (original title)<ref>[http://ubermorgen.com/baby/] [http://www.ubermorgen.com/exhibitions/installations/spielendes_baby/bilder_folge/index1.html] Project website and images, Installation exhibited 18.2. – 29.2.2004 at [Kunsthaus Graz]</ref>), the inclusion of Luzius's mental illness and the merger of private and public life led some critics and academics to consider UBERMORGEN.COM as a [[Gesamtkunstwerk]].<ref>[http://artwarez.org/uploads/media/UBERMORGEN-Sollfrank_01.pdf] Cornelia Sollfrank, 2009, "Das Genie von übermorgen"</ref>

Important personal and artistic influences were early meetings with [[Jean Tinguely]], [[Joseph Beuys]], [[Daniel Spoerri]] and Eberhard W. Kornfeld in the Basel art scene of the 1980s and with [[Niki de Saint Phalle]]<ref>[http://www.g26.ch/bern_gaeste_niki_saint_phalle.html] Niki de Saint Phalle 29.10.1930 Neuilly – 21.5.2002 San Diego</ref> in St. Moritz, and the long-time relationship (going back to 1916 during the first world war and the purchase of a [[Giovanni Giacometti]] painting by the grand-grandfather of Luzius Bernhard) with the Giacometti family (Giovanni Giacometti, [[Alberto Giacometti]]) in the nearby mountain valleys [[Val Bregaglia]] and [[Engadin]] in the canton [[Grisons]] in Switzerland.<ref>Letters, photos, sales contract and the painting are in the ownership of the Bernhard/Pernisch/Plattner family, archived in S-Chanf and Basel/Switzerland</ref>