In light of the political explosiveness of this project, which even attracted the attention of international secret services, it is hard to believe UBERMORGEN.COM's protestations that they have no political intentions and are solely interested in formal and aesthetic playfulness and free experimentation. In comparison, their approach of regarding media, mass media and communication as formable material for building their immaterial sculptures in an open process is more comprehensible. They have continued this method in collaboration with other artists: the project Google will eat itself , carried out together with Alessandro Ludovico and Paolo Cirio, takes on the largest and most powerful search engine by turning one of its own most important features against it. Income is generated through Google using AdSense, which the group uses to buy stock in the corporation. Although GWEI assails the corporation solely at a symbolic level, it has not only provoked the corporation to react, it also reveals essential contradictions of immaterial economics: the involvement of every individual in abstract, global market mechanisms, the unpredictable dynamics of these markets, and their tendency to accumulation with simultaneous transience.
In their current project Amazon Noir – the Big Book Crime–and again in collaboration with Alessandro Ludovico and Paolo Cirio–they take on another giant: the American online mailorder company Amazon.com. Using download software written by Paolo Cirio, the group attempts to exploit the function Search Inside the Book to read the entire contents of a book with the corresponding number of search queries and recompile the search results into a complete book that is in turn offered for downloading. By lifting and redistributing copyright-protected contents, UBERMORGEN.COM and their collaborators address the often contradictory application of copyright and the volatility of the concept of "intellectual property", which has not only developed into one of the most profitable industries, but also threatens to monopolize cultural assets. Following the question of democracy in the digital age and the demonstration of the concentration of power through search engines, now UBERMORGEN.COM focus again on a highly political topic, which is another indication of their awareness of power structures and how they are shifted by digital media and global communication networks. In their media actions, which often have the character of a performance or happening, but which, unlike their historical predecessors, quite consciously use PR strategies to reach wider audiences, UBERMORGEN.COM usually succeed in provoking their counterparts to "play along". Brilliant and well placed press releases, which they regard as separate artworks, play an essential role in this.
In addition to their confusion-causing media-hacking, which they prefer to call "digital actionism" to purposely distance themselves from politically motivated "hacktivism", UBERMORGEN.COM have also realized a considerable number of conceptual, installative and interventionist projects. These include, for example, the Injunction Generator, software controlled through a web interface to send masses of injunctions, which can result in the worst cases in the closure of web sites. Normally used against disagreeable web sites, which actually or allegedly violate existing laws (usually copyright or trademark laws), this possibility is extensively abused, for example by law firms that generate their own profits with injunctions. The Injunction Generator can certainly be seen as an ironic commentary on this abuse of the law. Other generators, also presented as installations, interactively generate bank statements (Bankstatement Generator) or prescriptions for psycho-pharmaceuticals (PsychOS Generator). Nazi Line, a collaboration with Christoph Schlingensief, and etxtreme.ru, a hack of the Ars Electronica jury in 1999, suggest political associations again. Whereas the former offered neo-nazis an opportunity to leave the scene by taking part in a theater production, with etxtreme.ru a fake press release sent out in a mass mailing claimed that the award of the Golden Nica art prize to the free operating system Linux was due to an intervention from Microsoft, one of the main sponsors of the Ars Electronica.
Combined in all of these actions and projects, to varying degrees, are random combinatorics inspired by Dada, strategic marketing, political satire, subversive communication and technical experimentation, resulting in complex structures, the absurdity of which is only surpassed by a hansbernhardblog, in which UBERMORGEN.COM satirizes the Web 2.0-based confession compulsion by listing in detail which substances Hans Bernhard consumes every day to obscure who or what is at work here.
Whereas with the digital and interventionist projects a malicious mixing of facts and fiction often leads to the development of an inextricable scenario, UBERMORGEN.COM arouses further astonishment with a "product line" – as they call it in another over-affirmation of marketing rhetoric. This product line makes use of cultural viruses of a completely different kind: their paintings and sculptures. There have been exhibitions of UBERMORGEN.COM in museums and galleries , where not a single computer was to be seen, no indication of digital communication networks. What was shown there were wall paintings, hand-painted pixel paintings, meticulously prepared prints on canvas or sculptures arranged out of material such as paper, wood, etc. One series from this complex of works are the Seals, large-format prints on canvas. These involve representations of various actions condensed into icons. Completely computer generated, capable of any number of reproductions, these certifications of the genuineness and intactness of documents allude to the intention of UBERMORGEN.COM. Although they play with concepts like "replica", "representation", "authenticity" and "aura", it is doubtful that UBERMORGEN.COM actually intend to create transformations of their hacking strategies in material objects. Once again they fool their audience, seek to seduce them. The iconoclasts, as which they have established themselves, have fun cultivating their "image" as "professional artists" – which presumably includes supplying a physical and thus salable product, preferably a "picture". Aside from the astonishment that the "media hackers" garner in this way, there is also a remarkable side-effect: the combination of "old and new code" actually paves the way to the art market. Their explicit will to art and their flirt with conformism always follow a double strategy of revealing the mechanisms of the art system and becoming a part of it at the same time – as a thorn in its side. Their incredible achievement consists of creating the image of "hackers" and "rebels" through their actions and simultaneously claiming that they want to be nothing other than commercial artists. This permanent contortion of reality and appearance into ever new spirals provides their audience with the lasting pleasure of never knowing what UBERMORGEN.COM is "really" about.
The genius of übermorgen masks itself with corporate design. The various alternating people, the more or less unambiguous subjectivities that it consists of remain – entirely in keeping with the requirements of late capitalism – flexible, emerging and vanishing under and into the networks of global communication, appearing on the mass media surfaces, posing as rebels, as a happy family, as hard-headed strategists, as successful entrepreneurs – or mad artists, depending on which promises the greatest success. Their strategies of forming worlds are not exhausted in the virtual; they are materialized in weighty sculptures or real court injunctions or in traditional paintings. As a child of mass culture, this genius forges its way into the sacred temples of high culture. In the White Cube as the final destination of all desire, true life is simulated in the false, and the erosion can begin – the sabotage of the system, of which it is itself a part. The question of who is taken over by whom remains unanswered. This genius unites itself in the contradictions of tomorrow. The questions it raises are the answers it gives.
Number of times UBERMORGEN.COM is named: 27
Published in: UBERMORGEN.COM – MEDIA HACKING VS. CONCEPTUAL ART, HANS BERNHARD / LIZVLX, Alessandro Ludovico (Ed.), Christoph Merian Verlag, 2009
 The following considerations refer to the original etoy group before their division in 1999. One part of the group continued to work under the same name after 1999.
 Documentation of Toywar: http://toywar.etoy.com
 ART FID [F]originals – Authentizität als konsensuelle Halluzination, HMKV Dortmund, 2006; “(f)originals. Authenticity as Consensual Hallucination”, Overgaden, Copenhagen, 2006.