is a virtual presence that leaves the art product in its actual hybrid form, in which inspiration, artistic work, life and materialized form of thought interweave. It is the interactive, artistic discourse of practice rather than its portrayal, its representation, or even its archiving. Quite different from what is initially expected, DIS-PLAY is nothing on which something is represented or imaged, but the negation of such playback. Referring to the Nordic mythology it is the activity or the being of a “Disen-Wesen”, an unspecified, surreal female being that indicates the negation of an automated spectacle: dis (= not) - play (=enact). Instead of manifesting in a materialized object, it enables the essence of art, which steadily alters and stays nimble.
Represented and screened through an external monitor or projector as the only possible transmitter, DIS-PLAY appears in all kind of circumstances. It connects physical with virtual landscape and creates space for active thought and imagination, while questioning the usual run of capitalistic philosophy. As an over sized billboard with a goddess-Sphinx-character divinely above the city; As a portrait in the form of a stand-alone display on the level of the passers-by which directly eye-to-eye meet a mirror in oversize; As a projected surface in a department store window; Or others, usually used for advertising purposes it conversely displays a permanent virtual presence, a platform, a forum, that happens outside the realm of the white cube as well as outside the strategies and functions of the standardized media margins. DIS-PLAY is everywhere where it can be consumed and has no fixed position but can be positioned. It is cyber-physical and mainly just virtual visible without temporal and geographical boundaries. Using the common customs of the display in the urban upheaval of a city, it is able to address a variety of people with diverse backgrounds and interests instead of only a small and centralized elite. DIS-PLAY disengages from solidified Hierarchies. Compiled and played in an integral conglomerate of inspiration, thought and production, it brings together digital gesture with the representation of physical gesture of varying invited artists and presents studio life as well as ownership and the authority of substance and tangible assets in its post-stage by setting individual action in focus and animating passers-by to take part.
As a mirror image in opposition to the raving movements of the human current in city centers, that offers a moment of pause as a panel of reflection, DIS-PLAY appears as a constantly evolving crystallization, as stream, news feed, formative installation or life piece of art in which producer and recipient are always able to change their positions or can be both in one: recipient and producer.
With the aim of a political contemporary statement about independence and own censorship-criteria, DIS-PLAY is further pursuing as a publication page that criticizes general commitments, stereotypical doctrines and centralized alliances but gives space to suppressed individual thought.
DIS-PLAY is created by Delia Jürgens & Tarik Kentouche.
In 2012 Delia Jürgens initiated URINVITED.NET (2012 - 2014), a Reality TV-Series and life piece of art as a platform for streaming art in the midst between url and irl, what she created together with Per Mertens between 2012-2014.
In interaction with a representational live stream of site specific installed works and performances at internationally occupied locations and environments such as a Fast-Food-Restaurant, a Hotel-Foyer or a private dorm among others, digitally created works were shown at the online platform. Operating at the border of the deepness of illusive screens, where participants were invited with an entering code to directly interact behind a theater-like curtain through chat, the image visually was constructed by digitally set installation fragments interfering with the physically streamed parts, creating one live image and piece of art from different parts of the earth completed by several artists. Working on the field of breaking global boundaries, both spatially as well as time-based, shows took place in international cities with local invited artists to participate such as #TamaraIbarra, #DiegoSalvadorRios, Mexico City, #BedrosYeretzian, Los Angeles, #LutzKlüppel, #SHIRIAKI, #MiraStobbe (#phntmbeach), Berlin, #DeliaJürgens, #PerMertens, New York City, Frankfurt on the Main, Alamogordo, Hanover, Cologne, Las Vegas, Minden, Palm Springs, Amargosa Opera House Death Valley Jct., Fulton Street, Fountains of Bellagio Las Vegas, Les Cascades Veracruz, a.o.
To question corporate business presences and how they form, shape and manipulate contemporary identity Delia Jürgens and Per Mertens renamed the work حليب [HALIB.BIZ] (2014-2015) in 2014 and extended the page with functional representational panels such as Waiting Room, Artist Discount - an Airbnb artist in residence program -, Traditional Overlapping, The Gardener or Watching Cyberpunk.
To question corporate business presences and how they form, shape and manipulate contemporary identity Delia Jürgens and Per Mertens renamed the work حليب [HALIB.BIZ] (2014-2015) in 2014 and extended the page with functional representational panels such as Waiting Room, Artist Discount - an Air BnB artist in residence program -, Traditional Overlapping, The Gardener or Watching Cyberpunk among others.
HALIB.BIZ resigned in 2015 when Delia Jürgens by herself initiated DIS-PLAY.