The collective DIS is exemplary in defining what Hannah Black in Artforum describes as the “relentless anxiety about the conditions and possibilities of art and life, express(ing) the despairing atomization, and the compromised longing for solidarity, of a post-bourgeois creative class hovering on the brink of its own obsolescence”.

Formed in 2010, after the fallout of the 2008 financial crisis and global recession, DIS as an entity has over the decade typified its aesthetic, cultural, political and economic impact. Composed of Lauren Boyle, Solomon Chase, Marco Roso and David Toro, DIS’ interventions blur the distinctions between art, curation, theory, advertising, fashion, retail and technology, manifesting across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects, often all at once. Their work exists often simultaneously online and in situ, as well as more traditional mediums like photography, sculpture, video and installation. Their current multi year project dis.art is a subscriber-based online video channel popularising in “edutainment”, helping us understand the complicated social machinery of our techno-capitalist world. The channel presents new commissions with other artists as well as DIS’ own content.

In 2021, DIS co-curated the Biennial for Image Movement Geneva, featuring their latest work Everything but the World. In a series of interrelated vignettes, Everything But The World presents a non-linear, natural history show about homo sapiens, linking the agricultural revolution to Amazon fulfillment centers. It addresses the gulf between the complexity of the human’s global existence and the smallness of their private everyday lives, and confronts our obsession with “the end of the world” knowing the arrogance of that word: ‘the’.

Recent solo exhibitions include, How To Become A Fossil at Secession, Vienna, Everything But The World at Schinkel Pavillon, Berlin and Big Beat Disaster at Project Native Informant, London.