There’s a thin line between suggestive paradox and resignation, but “HMV” manages to walk it. Organized by independent curator Alexander Shulan, the exhibition is named after the 1968 Stanislaw Lem novel His Master’s Voice, which follows a group of scientists who fail to interpret a signal from outer space because they can’t keep from projecting themselves onto it.
Among the areas of West Chelsea hardest hit when Hurricane Sandy slammed into New York at the end of October was West 27th Street, between 11th and 12th Avenues, which is home to five contemporary art galleries. Thankfully, all five—Wallspace, Foxy Production, Derek Eller, Jeff Bailey and Winkleman—have repaired their spaces and are reopening on Saturday, Jan. 12.
FOR THE TEXAN collaborative team of Jeff Shore and Jon Fisher, the camera obscura has been displaced as a metaphor by a surveillance-state Moebius strip. Everything is exposed for peering at, but there is no outside from which to peer in. Their new installation Trailer, currently biding its time in Derek Eller Gallery, consists of five ceiling-mounted projectors throwing five blank, digitally pixelated rectangles, each tinted a different color, onto or beside five groups of 17 wall-mounted plywood boxes, six power strips, and innumerable wires, caps, circuits and LED lights. The wires, whose elegant parallels and polite crossings bring to mind a schematic subway map, lead up the walls and across the ceiling to a secret control room in the back.