
Peter Wächtler
Much has been made of Peter Wächtler’s skilled handicraft and anachronistic registers. The title of his latest exhibition, “The Datum Trail,” refers to the now-obsolete singular form of data, the premise from which inferences are drawn. Although three of the four works here were displayed earlier last year as part of Wächtler’s solo show at Bergen Kunsthall, Josey’s domestic Georgian galleries—furnished, at the opening, with a pair of blazing coal fires—offer his mannerist fancies a befitting interiority.
In the rear gallery, the flame’s crackling lent an uncanny soundtrack to a stop-motion video