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UBERMORGEN Red Coin (Chinese Blood), 2015 Red Coin mining has recently made the People`s Republic of China the world`s largest Bitcoin producer. Mining requires exertion and it slowly makes new currency available at a rate that resembles the rate at which commodities like gold, copper, diamonds, nickel, rare earth, silver, uranium and zinc are mined from the ground. One of the reasons for the fast growth is the buildout of hydropower in the west of the country. The first petahash mining farms were built in Shanxi and Inner Mongolia where coal was cheap and plentiful, but cheap coal can’t compete with free water and now the farms are migrating en masse towards the west. uuuuuuuntitled.com/chinesecoin uuuuuuuntitled.com/chinesecoin/ChineseCoin_Text.pdf Video & Sound: Mike Huntemann Commissioned by NEoN (North East of North), 2015 Optimized for Dolby Surround 5.1 # Dolby 5.1 available upon request: officeR@ubermorgen.com #

UBERMORGEN lizvlx (AT, b. 1973) and Hans Bernhard (CH/USA, b. 1971) are European artists and net.art pioneers. They tenaciously convert code & language and concept & aesthetics into digital objects, software art, net.art, installation, new painting, videos, press-releases and actions. CNN described them as `maverick Austrian business people` during their Vote-Auction action and the New York Times called Google Will Eat Itself `simply brilliant’. Their main influences: Rammstein, Samantha Fox, Guns N’ Roses & Duran Duran, Olanzapine, LSD & Kentucky Fried Chicken`s Coconut Shrimps Deluxe. The have shown their work in major international institutions such as the Centre Pompidou, MoMA/PS1, Sydney Biennale, MACBA Barcelona, New Museum New York, SFMoma, ICC Tokyo, Gwangju Biennale and were commissioned by Serpentine Galleries London & Whitney Museum New York. UBERMORGEN currently holds the Professorship for Digital and Net-based Art in the Faculty of Art at the University of Art and Design Offenbach/Frankfurt http://ubermorgen.com https://en.wikipedia.org/wiki/Ubermorgen

First there was silence, but then the cities were built... then there was data but there was no story... just images and sounds... But... Ebay became the largest marketplace on earth, with very local marketspaces as well. Now Ebay is not as romantic and seductive as the local fleamarkets in Paris (Le marché aux puces de Saint-Ouen) but a million times bigger, more effective and thoroughly commercialized. We do love it! The Sound of Ebay is our contribution to the soundtrack of the new peer-to-peer hyper capitalism. What do we do: everyday we send out millions of bots to analyze the market and create songs. The sound is cool, the machine produces masses of songs and replicates millions of times throughout the networks ? flooding the net, a bubbling sea of artifical songs. You push the button triggering the helium-pop entertainment-blackbox, similar to a c64-cyberart-Jukebox ? a macromusic universal city. Every user has a signature which corresponds with another users signature. Chains of transactions, a swarm of bots, each song is memory and has it?s own history. Synaesthesie songs... can you reverse engineer the string? But forget the technology, its entertainment, baby! http://www.sound-of-ebay.com

UBERMORGEN.COM [A/CH/USA, *1999] UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. 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, pixel- painting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. 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?. www.ubermorgen.com

In China there are over 2000 Online-Gaming Workshops that hire people (over 500.000) to play online games such as World of Warcraft (WoW) day and night. The gaming workers produce in-game currency, equipments, and whole characters that are sold to American and European Gamers via Ebay. These people are called ?Chinese Gold Farmers". The future is now!

UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. 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. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. 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?.

First there was silence, but then the cities were built... then there was data but there was no story... just images and sounds... But... Ebay became the largest marketplace on earth, with very local marketspaces as well. Now Ebay is not as romantic and seductive as the local fleamarkets in Paris (Le marché aux puces de Saint-Ouen) but a million times bigger, more effective and thoroughly commercialized. We do love it! The Sound of Ebay is our contribution to the soundtrack of the new peer-to-peer hyper capitalism. What do we do: everyday we send out millions of bots to analyze the market and create songs. The sound is cool, the machine produces masses of songs and replicates millions of times throughout the networks ? flooding the net, a bubbling sea of artifical songs. You push the button triggering the helium-pop entertainment-blackbox, similar to a c64-cyberart-Jukebox ? a macromusic universal city. Every user has a signature which corresponds with another users signature. Chains of transactions, a swarm of bots, each song is memory and has it?s own history. Synaesthesie songs... can you reverse engineer the string? But forget the technology, its entertainment, baby! http://www.sound-of-ebay.com

UBERMORGEN.COM [A/CH/USA, *1999] UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. 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, pixel- painting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. 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?. www.ubermorgen.com

In China there are over 2000 Online-Gaming Workshops that hire people (over 500.000) to play online games such as World of Warcraft (WoW) day and night. The gaming workers produce in-game currency, equipments, and whole characters that are sold to American and European Gamers via Ebay. These people are called ?Chinese Gold Farmers". The future is now!

UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. 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. UBERMORGEN.COM?s work is unique not because of what they do but because how, when, where and why they do it. 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?.

Migrant shipyard workers on the Adriatic coast spend their daily routine in their dormitory. In the evening, one of them visits a nearby town.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule für bildende Künste Hamburg) and a “Meisterschüler” degree in Arts and Media from the Berlin University of the Arts (Universität der Künste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

It's summer and the streets are almost empty in a small town. People gather at the public swimming pool. Two close friends are saying goodbye.

Mate Ugrin (born 1986 in Pula, Croatia) graduated in Filmmaking from the Academy of Arts (Belgrade, Serbia) in 2012. He holds a Master of Arts from the University of Fine Arts Hamburg (Hochschule fur bildende Kunste Hamburg). He is currently finishing the "Meisterschuler" program at the Berlin University of the Arts (Universitat der Kunste Berlin). He directed several shorts, among which Recent Places (2016) and Meanwhile (2017) which was premiered at the Hamburg International Short Film Festival and won the German FIRST STEPS Award.

Fade portrays the rural life of a grandmother in Japan while persimmon trees enter the late season.The grandmother’s tenacious care for traditions, trees & home, the film poetically depicts the tableaux of forgotten rural memory of the post-war; the glimpse of human spirit and persistence appear in the passing of seasons, awaiting the new beginnings.

Asako Ujita (1997, Osaka, Japan) is an artist/filmmaker based in London. In her practice, she is interested in exploring history and working with the archival - from news, found footage, to informal recordings such as dairies and letters. Beneath the layers of calm and dream-like tone of her films, these narratives of the past weave into current socio-political issues such as post-colonialism, ecology, gender, and identity. She considers this stitching of time a reconstruction of myth, evoking psychological experiences of collective memory, trauma and imagination in the present. Her work has been screened and awarded internationally, including the Grand Prix award at 25 FPS Festival, Croatia, Alchemy Film and Moving Image Festival, UK, Regeneration at Barbican Centre 2021 London, and Speculative Future; Climate Crisis at Horniman Museum and Gardens, 2020 London.

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A day during autumn, Krakow, Poland. I looked at the hedge and at one moment, suddenly, I felt the need to throw myself at him. It was a need dictated strictly by kinesthetic experience. A whim of immersion in the thicket that will absorb me into its lumps. Then it becomes a habit.

Piotr Urbaniec, born 1992 in Krakow. A graduate of the Academy of Fine Arts in Warsaw. He completed his master at the Studio of Spatial Activities (supervisor: prof. Miroslaw Balka). He did his BA at the Transmedia Studio at the Academy of Fine Arts in Krakow (supervisor: dr Bogdan Achimescu). In 2016, he held a residency organized by Residency Unlimited in New York as part of the 1st prize in the "Artistic Journey of Hestia" competition. He won the main prize of the Video Art Festival In Out 2016. In 2014 he won the Grand Prix in the Young Wolves competition. Winner of the Krakow City Art Scholarship. He presented his works at numerous group shows and film screenings in Poland and abroad. In 2016, he was invited by the CCA Ujazdowski Castle to organize an individual exhibition as part of Project Room project.

How can we escape our bodies from the isolation of our homes, from the canonical costumbrist modes of the home as a place of peace, refuge, and security? This immersive video piece, created during the context of planetary incarceration due to the COVID 19 pandemic, immerses us in a memento mori, an invented, amniotic space riddled with vulnerable, mutating recesses, questioning the limits of the living, of the human, the horror of the everyday, and the expansiveness of inhabiting. Through performance essays carried out in isolation, the artist digitizes various objects, captures his home with homemade photogrammetry, and creates an incubating postbiological laboratory that expands and unincarcerates the limits of the body, granting unimaginable possibilities to hybrid creatures in communion with the nonhuman. Drawing inspiration from Amazonian worldviews, they imagine ways to escape, emancipate themselves, and resist systems of control and domination.

Visual, new media, and performance artist. Graduated from the National Autonomous University of Fine Arts of Peru (UNABAP) in 2016 with a specialization in Sculpture and Integrated Arts. Her training includes workshops, artist residencies, and ongoing self-directed learning. Her practice constructs alternative systems of reality that function as critical and poetic tools aimed at subverting the politics of control that affect bodies. Using the body, installations, and hybrid media, she works at the intersection of personal experience and sociopolitical dimensions, exploring themes related to migration, displacement, technologies of control, the epistemic boundaries between human and non-human, and gender and sexual dissidence, reinterpreting ancestral knowledge from Peru and Latin America in light of current conflicts. Her works have been exhibited in Peru, several Latin American countries, and Europe.

WAR DISASTER NUM. 33 ¿Qué hai que hacer hacer más? (What else can be done?) It´s a contemporary local video version of the thirtythird etching of the well known Goya´s War Disasters. A speech made by a Colombian Senator describes in a brutally clear way the raw violence praticed in this chronic Colombian war. The recontextualization and layout of the piece tends to be an statement about the human rights critical situation in colombia, where politics are an out of control matter of life and death. All rights violated.

ANDRÉS FELIPE URIBE CÁRDENAS. 1982. Bogotá D.C, Colombia. Works and Lives in Bogotá. Born and raised in some kind of nice broken family. Teached by Catholic priests in science, literature, philosophy and calligraphy. Expelled because of saying No at certain point in that Inquisitionlike highschool. Recieved by a german-colombian highschool where he had his first Metal Rock band and completed elemental studies. Inmediatly after he entered the National University of Colombia where one and a half year later he retired due to an almost serious paranoic state of mind. Took a break for six months studing not too fruitfully music grammar and auditive training. Then joined the University of Bogotá where he graduated from Fine Arts with a merit final work and thinks to continue now with a Master in Semiotics. He likes to skateboard somehow in Bogotá and writes all the time (not necessary on the walls). Believes blindly in the power of the expanded writing concept opposed to the ficticious reality which mass media brings everyday. Pretends to live in a peaceful place someday.

‘Remote Occlusions’ draws on excerpts from a camera manual, which details what the manufacturer expects from the camera, while the film presents cases where the camera rejects these intentions and expectations. The images that make up Remote Occlusions come from cameras that are not password-protected, available on internet directories that publish live feeds from these cameras. It is in this ethical grey area that directories act as mediators, making private feeds public. __ No flickering. No noise. No artefacts. No hard lights that cast shadows. No fog, clouds, trees or buildings. No conditions of slow-moving or stopped people for long periods. No moving objects whose appearance is similar to the target in the areas of interest. No waving objects that cause the continuous modification of the image in the area of interest, for example a meadow with tall grass. The target must have a minimum height of 30 pixels, which is at least 1/10 of the image height. The body of the target must be visible for at least 3/4 of its height. The target must have a minimum area of 100 pixels and stay in the interested area for a time of at least 1 second. The target must also maintain a sufficient dissimilarity from the background, which means at least a colour difference of 5% or a brightness difference of 10%. The image must have a resolution of 640x360, 640x480, 320x180 or 320x240 pixels and must be in landscape orientation with 16:9 aspect ratio. The camera must be mounted at a height between 3 and 5 metres and the camera lens must not be dirty, wet or steamy. The accuracy to be expected is under ideal environmental and installation conditions. Recall: 95%

Utkarsh is a filmmaker and writer from Delhi, India. His work has recently been programmed at EXiS, Seoul (Korea), 2024; Festival ECRÃ, Rio De Janeiro (Brazil), 2024; FICUNAM 14 - Umbrales/Threshold, Mexico City (Mexico), 2024; Berlinale - Forum Expanded, Distant Connections, Berlin (Germany), 2024.

In August 2016, one of the largest dalit anti-caste protest-rally happened in recent history of India. The 10-day rally marched from Ahmedabad to Una in solidarity with four people who had been flogged in Una in an act of caste-related violence. Chalo Una is an intimate look at the remains of this rally. Shot three years to the date of the original rally, the film retraces its path, going to various sites of village meetings, protests, and so on. The film is an invitation to the audience to revisit and to be with the rally. The high-speed shots of these sites of protest are not only acts of memory but also are a trigger for another temporality, one that is disconnected from when it was shot. Retellings and memories of various people involved with the rally are layered with the images to further evoke the ghosts of this protest.

ujjwal kanishka utkarsh is a Phd-in-Practice candidate at the Academy of Fine Arts, Vienna. He has been trying to develop a form that emerges out of the observational cinema tradition and he continues to do that through his PhD project. For ujjwal, this has resonances with John Cage's ideas of beauty and he has explored that through various forms and themes. He has looked at ideas of nothingness, of being in transit and also at labour practices, specifically at peculiar farming practices. In his current ongoing work, he is trying to see if and how through this form he can look at and reflect upon political activity. In the current political situation, where the space for voice of dissent is rapidly diminishing, truth is either viewed very simplistically and reality as objective or the post modern perspective renders all truth relative and all reality socially constructed. In this context, this is also an exploration to see if such ideas of observational form could create a space that avoids pitfalls of both these seemingly untenable theoretical extremes.