Life is an infinite Line [several Diodes triggering]

materialization 2015

@ Kunstraum 53 Hildesheim (GER)
photos Nora Lammers, courtesy Delia Jürgens

Life is an infinite Line [several Diodes triggering], 2015

Julian Obertopp (curator at Kunstraum 53 Hildesheim)

Globalized communication networks and the widespread dissemination of digital technologies are rapidly changing forms of communication and perception. Delia Jürgens (* 1986) understands the ambiguous reality of this progressive technical development as the basis and integral part of her artistic practice. In her work she deals with the object-like nature of different surfaces with which we come into daily contact or are confronted in our dreams, and their constantly changing transformation.

The combination of sculptural and painterly techniques brings together materials and image carriers from different cultures and social milieus in Jürgen's artistic work. "Real" material, various semantically charged Objets Trouvés - mass products that are taken from the global 99 cent stores - represent the starting point of her work. They refer to the idea of a global heritage, a storage of global user interfaces and products as well as their function in social networks and economies of the World Wide Web. Here digital and analog working techniques are combined.

The exhibition Life is an infinite Line [several Diodes triggering] Jürgens asks questions of originality, an originarity of human existence. The beginning is the end. The end is the beginning. An infinite spiral of converse, inverted reflection blurs digital images and optical reflections into a tangible virtual reality. The image of the envelope [the case] and the metaphor of the cavity or the gap thematize existence in a global world, in which virtual content fluctuates in a constantly changing stream and is transferred into a new, spatial reality. Application and removal of sprayed paint, burst, reflective surfaces and pressed flat cases, covers made of cardboard, insulating material, flexible transparent polymer film or polystyrene are set to surfaces made of minerals or fake animal fur and exaggerated with the interpretation of dream symbols and flattened applications. Jürgens plays through contradictory changes in familiar reading directions and habits that are believed to be certain and shows the ambivalence of things using different symbols and manifested values. In order to generate a DC voltage, a diode allows current to pass unhindered and isolates it almost completely in the opposite direction. The reference to the diode links the digital with the real and creates the image of a continuously continuous line that brings about an adjustment of the contradictory, polarizing life and leads into a space of meaninglessness. Jürgens creates a reality or a [swimming] pool of various virtual moments and, in doing so, explores the question: What is legit here? What is real? - The emptying of the senses leads to the fertilization of such.

Delia Jürgens studied scenography at the University of Applied Arts and Sciences Hannover from 2008 to 2013. From 2008 to 2014 she studied Fine Arts at the Braunschweig University of Arts, where she received her MFA with Frances Scholz.