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Tag Archives: releases

Dermis, audio CD edition, curated by Richard Garet, Contour Editions.

2018

Dermis project focuses on the sonic studio practice of artists making works that
are currently in process; consequently obscure, unheard of and not accessible by
the public.

Artists include:
Sabisha Friedberg, France Jobin, Brendan Murray, Maria Chavez, Andy
Graydon, Alfredo Marin, David Velez, Jim Haynes, Doron Sadja, Melissa F.
Clarke, Gill Arno, Carver Audain, Katherine Liberovskaya, Jesse Kudler, David
Schafer, Tristan Shepherd, Christopher Delaurenti, Bonnie Jones, Wolfgang Gil,
Gil Sanson, Byron Westbrook, Victoria Keddie, MV Carbon, Lesley Flanigan, Ben
Owen, Seth Cluett, Richard Garet, Stephanie Loveless, Martin Craciun, Daniel
Neumann, Tristan Perich.

http://www.contoureditions.com/pages/about.html
http://synradio.fr/dermis-un-projet-de-richard-garet-pratiques-datelier-et-work-in-progress/

Five Works
2017
ed. 100

This album has five tracks, four are from related sculpture projects, and one is a live recording of a performance at La Cita as part of Misfit Toys organized by Michael T. Ruiz. Liner notes briefly describe the other tracks. Available on Bandcamp as download or CD.

CD_FRONT

J100

cd cover.jpg

A 12 CD signed edition box set, including double-sided poster, insert, sticker and die cut hand-assembled box. Designed in collaboration with Shiffman&Kohnke, Los Angeles. Edition: 50

This edition is the culmination of a one-year project from November 2011 to October 2012 in which one CD was released each month. The 64 tracks total 10 hours of electronic noise created in studio and at NY and LA venues.

The box set will be available for purchase through DSE studio and Studio10 gallery, Brooklyn.

www.dsenoise.com

DavidSchafer_Artwork-0589

The book, published and distributed by Charta Art Books and designed by artist Mitchell Kane, chronicles the concept and fabrication process of creating the commissioned sculpture “Separated United Forms”. Numerous pictures and technical captions are included throughout the pages, from scanning the Henry Moore sculpture to its digital form, models, and the final placement and installation of the bronze forms. Also included is an essay by myself, and by critic Jan Tumlir.

Amazon review by Jenn Joy, lecturer and sculpture faculty, Rhode Island School of Design:

David Schafer’s Separated United Forms (2010) is a book that you want to touch. It feels less like a document and closer to a supplementary object, a slick matte container for various mediations on the titular site-specific sculpture, its processes, and provocations.
The overall designs draws on slick digitized graphics of architectural renderings to emphasize the series of scale shift between the source sculpture–Henry Moore’s Reclining Form– and Schafer’s Separated United Forms, between SUF and the immediate hospital architecture, between architecture and surrounding space. My reading then participates in this scanning and sampling as I must hold multiple ideas of scale and site simultaneously.

Schafer’s essay, “Where does it Hurt?” offers a genealogy for the work, one that is as much art historical as it is material and social. Tracing connections between medical and archival techniques, he details the processes–scanning, processing, composing, fabricating–that translate or perhaps even deform Moore’s form in order reform it. For me, SUF offers a provocative explication of the subtle humor of gesture as a way of attending to and restaging moments from art history all under the shadow of the medical community and art museum. And this humor is always a spatial, corporeal and conceptual thing. Is it possible he asks to reactivate Vitalist life form or psychic energetics through scanning? What other fictions are hidden within?

As in response, Jan Tumlir structures his essay around the refrain “What is it?” Is it alien or blob or abstract or analytic? Where does it come from? And what has it been reading along the way? As if in response to the densely citational work of SUF, Tumlir offers the reader a series of parallel trajectories for engagement rather than considering Schafer’s genealogies in depth. At times, his writing seems anxious to avoid any statement that might seem conclusive or over-describe the work as if that might limit it my reading of SUF. And it is a great compliment to the work itself, that it generates these possibilities.

David Schafer, MeKaniKdolls and their collaboration MDSE are proud to announce the release of two live recorded CDs.

Their “Sad Pavilion” performance from Mildred’s Lane and Schafer’s own “What Should a Museum Sound Like?” are now available through iTunes and their websites.