Gaff tape. 
These mics are so small & light you can do all sorts of things.
TV antennas-
Like Moke mentioned, you can't go wrong with a telescopic TV antenna for the little DPA mini mics. It's completely adjustable and collapses down to a nice small package. You can even set everything up beforehand and leave the mics attached for super quick setup and break-down. I tape the mics on the ends with gaffer tape. You can attach the antenna to a light stand, someone else's stand, a pole, railing, etc. You can build a bracket, clamp it, or just gaff tape the thing to the stand or a pole since the mics and antenna are so light. Most TV antennas allow up to a 5'+ spacing between mics but I typically keep it around 3'. If you can listen on headphones while adjusting the spacing you can dial it in nicely.. or use the Stereo Zoom charts like Boojum mentioned.. or just go with 3'. Depends a bit on were you want to set up in the venue and how much effort you care to make to tweak perfect sound. The 3' method works from 'the section' outside all the way up to stage-lip.
Put it wherever it sounds best and where you can get away with it without disturbing people. One nice thing is that A-B spacing those tiny mics on the thin antenna can be nearly invisible, especially if you use a black antenna instead of chrome or cover the chrome with gaff tape. The limited sight-line blocking can be one advantage over using a baffle but generally, If I have to choose between a baffle or more space between the mics (within reason) I choose space.. that's just personal preference.
Baffles-
I tend to prefer the results with the Jecklin only from very close to the source. Same goes for the head-size nerfball baffles (that are an even bigger sight-line blocker) but YMMV. If you want to experiment with these things you can add a disk between the mics on the TV antenna and you'll have the ability to play with placing the mics flush on the face of the disk or spaced from it. I mostly use the center baffles only as a way to record when I can't space the mics enough, because if I space the mics were I like them I'd need a gigantic baffle. Because I value the spacing aspect so much, I more often use small sphere baffles on the ends of the tv antennas to impart some high frequency directionality. That's considerably more complicated than a Jecklin disk but there are some details in the thread linked below.
The back wall-
Space them and tape them to the back wall to boundary mount them and significantly cut down on the reverberation pickup at that distance. This can work really well for 'back of hall' locations and can often sound better than a stand in the center or back half of the room. Likewise you can sometimes tape the mics to the little wall in the front of a raised soundboard location. I did this outdoors on a wall once to good effect.
Welding rod 'stalks'-
If you know you'll be taping from the stage lip for an instrumental or non-amplified act you can get your mics closer to where you want them nearly invisibly by gaff taping the leads to straightened wire coat hangers or the equivalent (I use 3' aluminum TIG welding rods). Bend them so that they arc up and toward the band on stage, away from the crowd, space them appropriately and tape them to the stage-lip. They are so thin that they are nearly invisible even though they are in the direct line of sight. Another bonus is they just wiggle a bit if bumped on stage.
I recently expanded that idea by using four 4060s across the front of the stage. I had a spacing of about 4' between each mic with a flanking left, center left-right pair, and a flanking right, 12' across the entire stage.
I just posted
details of the above method here. The other methods (TV antennas, poles, stands, big and small baffles, etc) are covered earlier in the same thread. All of the techniques I've posted about in that thread so far use 4060s. They really lend themselves to unusual mic stands.
[edited for spelling and verbosity, and it's still wordy. Geesh!]
Topic: What is a good mic stand for DPA 4060s? (Read 8918 times)