Since 2004
Works in Brooklyn, New York United States of America

Eva and Franco Mattes are the Brooklyn based artist-provocateurs behind the infamous website 0100101110101101.ORG. Since meeting in Madrid in 1994 they have never separated, living a nomadic life throughout Europe and the US. They have been pioneers of the Net Art movement, copying and remixing other artists’ works, targeting “closed” websites, and turning private art into public art. Their off-the-wall performances - that have caused them several lawsuits - include stealing dozens of fragments from art masterpieces (Stolen Pieces, 1995), rolling out a media campaign for a non-existent action movie (United We Stand, 2005) and even convincing the people of Vienna that Nike had purchased the city’s historic Karlsplatz and was about to rename it “Nikeplatz” (Nike Ground, 2003).
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Nike scores own goal

October 28, 2003


Nike scores own goal
Preliminary Court Decision in Favor of International Art Project

The international sportswear company Nike is trying to get the
installation "Nike Ground -- Rethinking space", created by the renowned
artists group 0100101110101101.ORG, banned by court. Meanwhile the
Commercial Court of Vienna has taken a first crucial decision.

Quite apart from the fact that this is an attempt to ban a work of art,
the Commercial Court has rejected Nike's plea for a provisional
injunction on formal grounds. The decision was based on the fact that
the law suit against Public Netbase was filed by Nike International.
This company has its principal office not in Austria, but in the USA and
therefore would have been required to pay a deposit covering the cost of
litigation in case of a ruling in favor of Public Netbase.

Public Netbase's attorney, Mag. Michael Pilz, who consistently
underlined the artistic nature of the installation, pointed out the
formal defect in his response to the plaint. "This is a major step ahead
for the project", declared Konrad Becker, director of Public Netbase.
The law suit with Nike will now enter its next round. Moreover, the
installation remained on Karlsplatz until its official takedown on 28
October. "The Court's decision motivates us to protect the freedom of
art against the ruthlessness of corporations with even more
determination in the future", Becker concluded.

According to 0100101110101101.ORG spokesman Ted Pikul "Nike is a perfect
subject for a work of art. The Swoosh is probably the most viewable
brand on earth, more than any political or religious symbol. Now these
giants are loosing control over their own brands, which in the hands of
pop culture are turning into boomerangs".


Public Netbase




Why doesn't Nike want to play with me?

October 17, 2003


Why doesn't Nike want to play with me?

Nike starts legal action against the European art group
0100101110101101.ORG and cultural Internet platform Public Netbase.

In mid September this group started a surreal art project called Nike
Ground (http://www.nikeground.com), a performance built around a fake
guerrilla marketing campaign: Nike was supposedly buying streets and
squares in major world capitals, in order to rename them and insert
giant monuments of their famous logo. A hi-tech container was installed
in Vienna, supposedly the first city to host a "Nike Square", as part of
the action.

On October 10th, 0100101110101101.ORG publicly claimed to be behind this
"hyper-real theatrical performance". The project questions the issues of
private appropriation of public space, the side effects of bombarding
marketing strategies and the artistic freedom to manipulate symbols of
everyday life.

On October 14th, Nike released a 30 pages injunction requesting the
immediate removal of any reference to copyrighted material, and that any
activity related to Nike cease immediately. Failure to comply with this
request would mean that Nike will claim 78,000 Euro for damages.

"Where is the Nike spirit? -- responds Franco, spokesman of
0100101110101101.ORG -- I expected to deal with sporting people, not a
bunch of boring lawyers!".

"Many artists have dealt with commercial products in the past, before
Nike even existed -- comments Eva, also from 0100101110101101.ORG --
think of Andy Warhol's Campbell Soup, for example. Contemporary art does
not have a well defined role within this society. On the contrary, it is
a field where one can make statements that are not possible in any other
context. Art has always used powerful images from the society of its
time as its subject. Nike invades our lives with products and ads but
then forbid us to use them creatively".

According to independent curator and writer Timothy Druckery, "the work
of 0100101110101101.ORG provokes questions about how corporate identity
cannot endorse itself as a proxy public sphere or as an entity immune
from the implications of its actions".

Curiously enough, the building of the "Viennese Secession", built by
Joseph Olbrich in 1898, faces the fake Nike Infobox in Karslplatz. In
huge gold letters over the entrance are the words: "To every time its
art. To every art its freedom".





Nike buys streets and squares

10 October, 2003


Nike buys streets and squares
Guerrilla marketing or collective hallucination?

Picture this: a hi-tech container right in the middle of Karlsplatz, one
of Vienna's historic squares. It's the Nike Infobox: a slick,
demountable, walk-in container, two semi-transparent floors, dynamic
shapes and a red plastic cover. On the outer windows a curious sign
attracts the attention of passersby: "This square will soon be called
Nikeplatz. Come inside to find out more". Over the last month, the plan
to change the square's name has also been advertised on a website:
http://www.nikeground.com, while thousands of brochures were distributed
all over the city.

Inside the Infobox a charming couple of Nike-dressed twins welcomes
curious citizens, and explains to them the revolutionary Nike Ground
campaign: "Nike is introducing its legendary brand into squares,
streets, parks and boulevards: Nikesquare, Nikestreet, Piazzanike,
Plazanike or Nikestrasse will appear in major world capitals over the
coming years!".

A 3D project displayed in the Infobox gives information about a giant
sculpture to be placed in the Karlsplatsz ? or Nikesplatz ? from next
year. It is a giant sculpture of Nike's famous logo, a "Swoosh", a 36
meter long by 18 meter high monument supposedly made from "special steel
covered with a revolutionary red resin made from recycled sneaker

Not surprisingly, many Viennese are puzzled and concerned at seeing a
historic square sold by the City to a multinational without prior
consultation. Thus, immediately after the container is assembled and
open to the public, handwritten letters and emails begin to jam the
inboxes of local and national Austrian newspapers. After a short
inquiry, the press uncover that both Nike and the City of Vienna deny
any responsibility for Nike Ground. While Nike issues a press release
alleging trademark infringement, the City reassures the public by saying
that "following World War II street names cannot be modified, unless
they look very similar to others".

This almost unbelievable trick is the work of the organization known as
0100101110101101.ORG, and this time it is played on a whole city. Eva
Mattes, their spokeswoman, explains: "For this work, we wanted to use
the entire city as a stage for a huge urban performance, a sort of
theatre show for an unaware audience/cast. We wanted to produce a
collective hallucination capable of altering people's perception of the
city in this total, immersive way". Thus 0100101110101101.ORG continues
its history of works meant to be told instead of being seen; works which
pose the problem of an art which is mythopoetic.

The whole performance has been realized in cooperation with Public
Netbase, the Vienna netculture institution. Konrad Becker, director of
Public Netbase, explains: "It is our duty to directly intervene into
urban and media space, to bring up the issues of symbolic domination in
public space by private interests. We see Nike Ground as a statement for
the artistic freedom to manipulate the symbols of everyday life".

Naturally, not all of the reactions were so enthusiastic. Amongst the
letters published in newspapers, one Viennese commented: "It is a
scandal that while in the US Nike had to pay 1.5 million dollars for
misleading the consumer with false advertising, in Vienna we decide to
build a monument to a corporation which is still making a large use of
sweatshops". Another one added: "The Viennese schnitzel might not be as
fancy but it is surely tastier than their meaningless plastic swoosh".

To assuage people's anger, or simply inform citizens of Nike Ground
activities around the world, an infoline has even been set up:
0664-1235555, where a female voice kindly accepts all questions and

The authors of this surreal performance promise that the Infobox will
stay in place for another month. Now that the fake has been revealed,
many people wonder whether Nike will try to put an end to the
performance. "Why should they? - asks Mattes surprised - we produced the
first Nike no-budget advertisement!".

Nike Ground is the latest surreal action by the organization known as
0100101110101101.ORG, a band of media artists who use non conventional
communication tactics to obtain the largest visibility with the minimal
effort. Past works include staging a hoax involving a completely made-up
artist, ripping off the Holy See and spreading a computer virus as a
work of art.




life_sharing: 2 years of data nudism

life_sharing: 2 years of data nudism

life_sharing is a real time sharing system based on Linux. Since January
2001 0100101110101101.ORG's computer has been turned into a transparent
webserver. Any user has free and unlimited access to all contents:
texts, images, software, private mail; get lost in this huge data maze.
life_sharing is a brand new concept of net architecture turning a
website into a hardcore personal media for complete digital
transparency. "The only place I know where you can wander through
someone else's computer... legally, that is..." (Dedmaus.com). Over the
last 365 days life_sharing generated 3,721,541 visit requests from
100,669 unique visitors. 52,681.21 Megabytes of data have been
downloaded. "life_sharing is abstract pornography" (Hito Steyerl).
Permanent infotainment from the peer to peer generation.
Privacy is stupid.


" HTTP://0100101110101101.ORG : A band of Web pirates whose past
projects have included staging a hoax involving a made-up artist,
ripping off the Pope, other net.artists like hell.com, who almost sued
them, and stealing and altering the Web's first net.art gallery


The World in One's Pocket?

>From "Springerin", Oct 2002 > http://www.springerin.at

The World in One's Pocket?

The Net project "VOPOS" by 0100101110101101.ORG

by Vera Tollmann

In December of last year, the European Union and the European Space
Organisation agreed to set up a European venture as competition for the
American Global Positioning System (GPS) by 2005. The non-military
system "Galileo" is to consist of 30 satellites and cover the entire
globe. [1] The EU argues that this decision is aimed at making it
independent of the GPS - which is still used for military purposes - by
giving it its own surveillance complex. The end users of this
geographical location system are to include customs and the judiciary,
transport and communications authorities, and tourism organisations. On
May 1 the White House in Washington announced that "SA" (Selective
Availability), which caused civilian equipment to give more imprecise
results, would no longer operate. These two decisions show what a
central role satellite systems will play, or already play, in everyday
life, alongside the telecommunications systems of telephone and

These developments, leading towards an ever more perfect universal
surveillance method, have not gone without comment from activists [2]
and artists. Whereas at the end of the nineties there were mainly
reactions to the - in some cases - extremely extensive installation of
video cameras in public places, [3] a new technological paradigm of
media art is now starting to emerge. Besides Web-based works about the
surveillance of data transfers, [4] the first artists have already begun
working with the GPS, such as the documenta participants tsunamii.net.
This involves a Web-related approach: tsunamii.net looked for
correspondences on the Web to the real places they passed on their
travels. The focus is on an alternative mapping of the internet.

The current project by 0100101110101101.org, which has the awkward name
"VOPOS" - a reference to former East German police as representatives of
a historical surveillance state that shows little more than a "radical
chic aesthetic" -, also functions partly via GPS. Tanio Copechi and
Renato Pasiopani, as the operators of 0100101110101101.org call
themselves, carry a GPS transmitter around with them. It sends the data
it receives to a server via mobile phone, and this data is then
visualised on the web site by means of software. With the aid of a
digital street map of Barcelona, which is where the two Italian artists
claim to be, users can see which street they are in - whether just one
or both of them is an open question. The clock can also be turned back -
this means it is possible to vaguely reconstruct the route taken through
the city by the "surveillees". But "VOPOS" has nothing to do with a
sociological interest in the erratic wanderings of everyday life, as the
situationist approach would suggest; it is a criticism of the potential
of the GPS: who uses the coordinates it provides, and what does the
electronic profile that can be deduced from them reveal?

The two artists do not just illustrate the way the GPS functions within
a larger communications complex; their artist strategy is also expressed
in their refusal to give their identity and provide a level of narrative
that could explain why they visit the places they do (unless someone
knows the city very well and thus has options for interpretation). It is
equally impossible to verify whether they really were at the positions
marked or not. "VOPOS" therefore also remains a game involving reality
and fiction, information and disinformation. For a knowledge of the way
the system could potentially function suffices to enable one to
critically take up the surveillant's perspective. As the second part of
the long-term project "Glasnost", "VOPOS" continues the planned
collection of comprehensive, person-specific data. The first phase -
which still exists on the web site - consisted in the project
"life_sharing". [5] 0100101110101101.org put the local hard disk of
their computer onto the Web, thus making their private e-mails, project
sketches and software publicly available.

What is the artistic added value of this project? To what extent is it
only a preparation for something that can be commercially exploited
later? After the experiences with the "Big Brother" series, a similar
scenario using GPS technology would also be imaginable: one group - the
surveillants - has to hinder another group - the "surveillees" - in
carrying out the game task allotted to them. "VOPOS" operates precisely
at the ambivalent point between affirmative slogans like that of one
mobile phone manufacturer - "Put the world in your pocket" -, and the
non-commercial production of transparency.

Translation: Tim Jones



1 http://europa.eu.int/comm/energy_transport/de/gal_de.html (Galileo
http://www.heise.de/newsticker/data/dz-01.12.01-003 (Report on the
decision in favour of Galileo, 1 December 2001)

2 http://www.bigbrotherawards.at

3 See the Surveillance Camera Players:

4 See the Software Carnivore: http://rhizome.org/carnivore

5 See Marina Grzinic: "Das Leben zuruckgewinnen". In: springerin 1/01,
p. 10


Anything has been said about this renegade cyber-entity, accused of
being "simple thief", dubbed as "media dandy" and "cultural
terrorists" or, simply, "shit". 0100101110101101.ORG prdouced some of
the most perfect media exploits of the last years, such as the
creation and diffusion, at the opening of the 49th Venice Biennial, of
the computer virus "biennale.py" or the memorable spoof of the
Vatican website: almost identical with that of the Holy See, but with
slight deviations. HTTP://0100101110101101.ORG