„In order to train a Leviathan, people, plates, palaces, rituals and habits, (...), factories and technical systems, etc. are mobilized, which is why the essence of Leviathan cannot be stabilized in the usual metaphors. It is machine, market, code or body in equal measure. In addition, there is not just one Leviathan, but many, like chimeras intertwined, each claiming to represent a possible reality.“1
The question of how temporarily existing collective structures are formed in translation processes from a collection of individual actors - with the help of objects - is central to the work of DIS-PLAY. Their complex and lively organizational form is based on social relationships: from the sum of the contents, objects, bodies (entities) involved and their interactions, temporary events, occurences are formed, which can be held in a possible form for the moment, only in the next moment open again for a multitude of other possible translations and reconfigurations. “All forces and currents (materialities) are alive, endowed with emotion (or can become so) and send signals. For this reason, a speaking, affect-gifted human body does not differ radically from the affect-gifted, signal-sending, non-human beings with whom this body coexists, which it harbors, with which it enjoys, serves, consumes, produces and competes. ”2 DIS-PLAY develops a kind of newsfeed, a constantly evolving Leviathan structure in which digitally and physically substantiated content, personal insights and extensive research circulate equally. They are united by an attempt to visualize the subtle, invisible and unspoken and to make it accessible to an audience using existing resources and infrastructures in (semi) public spaces.
„In order to stabilize society everyone need to bring into play associations that last longer than the interaction that formed them, the strategies and resources may vary (…). For instance, instead of acting straight upon the bodies of colleagues, parents and friends (...) one might turn to more solid and less variable materials.“3
With the vision of an independent artistic network, which itself becomes part of the work, DIS-PLAY acts as a kind of micro-society based on successively changing links. In addition to the video essays produced - which in turn can take the form of an mp4 file, an LED projection, etc., texts, sculptures, photographs in different aggregates, etc., the bodies of the artists, the communication with each other, become the place occupied and its history, as well as the devices used, the image carriers, as equivalent components of the recognized artistic practice.
DIS-PLAY is a virtual presence in the initial format of a website, which appears temporarily as a physical unit and communicator for the public. The flexible and specific framework of DIS-PLAY enables the research and comparison of different (artistic) perspectives.