in response to [Draußen. Outside. Dozens of my Fingerprints washed away], 34°12'52.6''N 116°27'18.0''W California, USA
on the border of 'Jemez Homestead: Stolen Land' and the 'Sand to Snow Natational Monument'
permanent exhibition, 24/7 access
1938, Sprengel Museum Hannover, Germany
opening: March 9th 2018, 7 pm
March 10th - June 3rd 2018
Delia Jürgens’ is a painter and installation artist based between Berlin, Hanover and Los Angeles. Her work is separated in two main components, a visual part and a conceptual part, both shaping through poetry. Jürgens’s work group 'Fragmented Landscapes' deals with the ambiguity of life in the world of global today. She discusses medial doctrines, their social maxims and trends as well as the effects in their ever-changing transformation in an osmosis between online and offline realities. The work is composed by multilayered installations that materialize into landscaped panoramas through a variety of materials and objects in which flowing movements with static moments - stability with fragility - originality with banality hold the balance and create a painterly aura. The different displays are informed by everyday materials such as various construction materials, objects from our globalized mass culture, and a wide range of references to images and structures from the digital cosmos. The installations, which are constantly materializing in different ways, are assembled anew from their different elements for the specific situation in each space, and thereby constantly generate new references and levels of meaning among themselves. After they are presented, the displays are again disassembled into their component parts, and these materials are then once again available from “storage” for new configurations, unless the work is sold. On the border of philosophical questions about existence and the critique of institutional as well as art market related values and who or what structure manifest these values, this artistic formation process is also comparable with digital work processes that can be constantly altered, expanded or reversed. „Nothing will remain, everything is just for a specific moment.“ Like a blockchain, only the documentation of the specific work gives proof to its existence. The titles of her works manifest a thought line and are the starting point of her materializations. The layers of the divers surfaces and the industrially processed materials such as Styrofoam pedestals, on which product bar codes are visible to the viewer and through which the object is recognizable, reflect on our behaviour and structures in a world shaped by technology, the digital and their consumption and mass production. With the question of an origin Jürgens creates a reality of surfaces as a portrait of contemporary life and creates a suggestive space in which the heaped beach goods of global economies express themselves as traces, relics and norms of human being in their compressed quasi-appearance. Intangible as well as materialized information, which are abstracted, alienated and partially erased by material accumulations and overlaps or exhibited in their negative as imprint or hollow form, refer to their origins and labels while surveying the direction they are leading to. Jürgens points out thoughts about identity in the mirror of a global collective, philosophical margins of action and reaction and the texture of insinuation, pretense and fake as the appearance of today’s being as stereotyped veils behind whose facade a true core can be found in its depth.
Sabiha Keyif, curator ZKM Karlsruhe for 'Hybrid Layers' (June 2017)