Lizvlx (moniker of Elizabeth Haas) and Hans Bernhard live and work in Vienna, Austria and St. Moritz, Switzerland, and founded UBERMORGEN in 1995.
Over the last 25 years as net.art pioneers and media hackers, they have been widely recognised for their high-risk research into data and matter and polarising social commentary. In 2000, UBERMORGEN reached an audience of 500 million with their satirical website Vote-Auction during the US presidential election, challenging the FBI, CIA and NSA. In 2005, they launched their acclaimed EKMRZ Trilogy, a series of conceptual hacks – Google Will Eat Itself, Amazon Noir and The Sound of eBay. Recent and exhibitions include Whitney Museum, USA (2020); Somerset House, UK (2019); ZKM Center for Art and Media Karlsruhe, Germany (2017); and Ars Electronica, Austria (2013).
Leonardo Impett is assistant professor of Computer Science at Durham University. He works in the digital humanities, at the intersection of computer vision and art history. He was previously Scientist at the Bibliotheca Hertziana – Max Planck Institute for Art History, Digital Humanities Fellow at Villa I Tatti – the Harvard University Center for Italian Renaissance Studies, and PhD Candidate at the École Polytechnique Fédérale de Lausanne. In trying to bring ‘Distant Reading’ to art history and visual studies, his current research focuses on unveiling the implicit image-theories of computer vision and constructing new computer vision systems based on early modern philosophies of vision. He is an Associate of Cambridge University Digital Humanities, an Associate Fellow of the Zurich Center for Digital Visual Studies, and an Associate Research at the Orpheus Institute for Artistic Research in Music.
Joasia Krysa is a curator and researcher whose first curatorial software experiment was launched at Tate Modern in 2005 and published in Curating Immateriality (2006). She has curated at the intersection of art and technology, amongst others, as part of the curatorial team for Documenta 13, Artistic Director of Kunsthal Aarhus, Denmark, and co-curator of Liverpool Biennial 2016. She is Professor of Exhibition Research and Head of Art and Design at Liverpool John Moores University. She currently serves as curatorial advisor for Helsinki Biennial 2021 and Sapporo International Art Triennale (SIAF) 2020 in Japan.
UBERMORGEN (Austria/USA), Leonardo Impett (UK/Italy) and Joasia Krysa (Poland/UK) are collaborating on a new commission for LB2021.
Liverpool Biennial
The Next Biennial Should be Curated by a Machine B³(TNSCAM)
The Next Biennial Should be Curated by a Machine B³(TNSCAM) (2021) is an experiment in reimagining the future of curating in the light of Artificial Intelligence, as a self-learning human-machine system. The first iteration of the project is developed as a collaboration between artists UBERMORGEN, digital humanist Leonardo Impett and curator Joasia Krysa, and features a group of technical machine learning processes collectively named B³(TNSCAM). Using various archive materials and datasets from Liverpool Biennial and The Whitney Museum of American Art, B³(TNSCAM)processes them linguistically and semiotically, to generate new variations of possible instances of endless (combinations of) biennials. is presented online accessible through the websites of Liverpool Biennial and The Whitney Museum of American Art’s online platform artport.
UBERMORGEN, Leo Impett and Joasia Krysa, B³(TNSCAM) (2021) is commissioned
The Next Biennial Should be Curated by a Machine B³(TNSCAM) (2021) is an experiment in reimagining the future of curating in the light of Artificial Intelligence, as a self-learning human-machine system. The first iteration of the project is developed as a collaboration between artists UBERMORGEN, digital humanist Leonardo Impett and curator Joasia Krysa, and features a group of technical machine learning processes collectively named B³(TNSCAM). Using various archive materials and datasets from Liverpool Biennial and The Whitney Museum of American Art, B³(TNSCAM)processes them linguistically and semiotically, to generate new variations of possible instances of endless (combinations of) biennials. is presented online accessible through the websites of Liverpool Biennial and The Whitney Museum of American Art’s online platform artport. UBERMORGEN, Leo Impett and Joasia Krysa, B³(TNSCAM) (2021) is commissioned by Liverpool Biennial and The Whitney Museum of American Art for their online platform artport, with support from Liverpool John Moores University, Swiss Arts Council Pro Helvetia, Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria, and the City of Vienna.
The Next Biennial Should be Curated by a Machine B³(TNSCAM)
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UBERMORGEN, Leonardo Impett & Joasia Krysa, The Next Biennial Should be Curated by a Machine B³(TNSCAM), 2021
UBERMORGEN, Leonardo Impett and Joasia Krysa – The Next Biennial Should be Curated by a Machine
The Next Biennial Should Be Curated by a Machine reimagines the future of curating in the light of Artificial Intelligence as a self-learning human-machine system. Developed as a collaboration between artists UBERMORGEN, digital humanist Leonardo Impett, and curator Joasia Krysa, this project features a group of technical machine learning processes collectively named B3(NSCAM).
The B3(NSCAM) software uses datasets from Liverpool Biennial and the Whitney Museum, among other sources. It processes them linguistically and semiotically, calculating a future probability for words to appear, to generate endless combinations of possible instances of Biennials in flux. These imagined occurrences manifest as texts—seemingly conventional artist biographies, curatorial statements, press releases, and art magazine reviews—which engage in a continuous process of rewriting themselves. Always remaining fluid and ungraspable, the texts are presented in windows on a range of animated visual backgrounds that allude to the sixty-four parallel universes of possible Biennials constructed by the AI.
Clicking on the interface’s spinning wheels will launch a new Biennial universe on an animated graphic constructed from sources such as NASA and sci-fi imagery. Each universe is accompanied by a soundtrack from the TikTok playlist, alluding to the mix of creative expression and preconfigured elements in digital tools. The respective universes are created by subtle changes in the software’s parameters, for example giving more weight to one data set—such as the Whitney or Liverpool Biennial—over another, or simply generating variations of biographies for artists with the same first or last name. Together these textual and graphic universes of Biennials narrate and visualize the impossible, absurd endeavor of an AI to curate on the basis of what it has learned from sources compiled by people and human understandings of art.
This project includes a background with a flashing graphic effect.
The Next Biennial Should Be Curated by a Machine is commissioned by Liverpool Biennial and the Whitney Museum of American Art, with support from Liverpool John Moores University, Pro Helvetia, Federal Chancellery of Austria, and the City of Vienna. The project is accessible through the websites of Liverpool Biennial and the Whitney Museum of American Art’s online platform artport.
UBERMORGEN, Leonardo Impett and Joasia Krysa – The Next Biennial Should be Curated by a Machine
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UBERMORGEN, Leonardo Impett and Joasia Krysa – The Next Biennial Should be Curated by a Machine -
UBERMORGEN, Leonardo Impett and Joasia Krysa – The Next Biennial Should be Curated by a Machine -
UBERMORGEN, Leonardo Impett and Joasia Krysa – The Next Biennial Should be Curated by a Machine -
