Not every simultaneity of notes need be named as a chord. There are 924 possible 6-note selections from 12 notes. For this reason, I prefer to read traditional music notation rather than try to decode chord symbols (or for my own lead sheets, just write the melody, simple chords, major, minor, seventh, nineth, diminished, and the like; if something is more complex, I'd not use a lead sheet even in my shorthand stuff.)
However, this looks a bit like a polychord. There is a B06 (D-F-B) superimposed on a C9 with the fifth and seventh dropped (C-E-Db). However, combining incomplete chords may not describe what's happening harmonically.
Without seeing the context, it's hard to know what's happening musically. Note clusters (in equal temperament) can have more than one name. Take Ab-C-Eb-Gb: this is an Ab7-5, and Ab seventh with a flat fifth. It's rather common in classical music and moves nicely to Db-F-Ab (perhaps inverted), just a variant of a V-I. However if written as Ab-C-Eb-F#, it would normally resolve to G-C-Eb-G (or G-C-E-G) and then to G-B-D-G (or F) as a German Sixth. Sometimes (for various reasons or readability or carelessness) one will be written when the other is meant. It doesn't really matter too much. Chord usage, not chord names are what's important. That's why the key and context are needed to decode the music.
One may also have chords with non-harmonic tones so one could say this is a B diminished with three non-harmonic tone. Or even a D minor chord with the fifth omitted and a few non-harmonic tones.