Cheyney Thompson

“The End of Rent Control and the Emergence of the Creative Class”

5 May 2006 -
3 June 2006

opening reception on Friday,
5 May, 7-9 pm

EN
DE

Galerie Daniel Buchholz
Neven-DuMont-Str. 17 50667 Köln
Tel 0221-2574946 Fax 253351
post@galeriebuchholz.de
www.galeriebuchholz.de

 

Cheyney Thompson
“The End of Rent Control and the Emergence of the Creative Class”

 

5. Mai - 3. Juni 2006
Eröffnung am Freitag, dem 5. Mai, 19-21 Uhr

 

Cheyney Thompson (*1975, lebt und arbeitet in New York) präsentiert in seiner ersten Einzelausstellung in der Galerie Daniel Buchholz zwei Serien von jeweils vier Portraitgemälden, die sein Vermieterehepaar zeigen. Die Malweise der Portraits orientiert sich an der Technik des Vierfarbdrucks (CMYK), der üblicherweise aus vier transparenten Farblagen besteht. Der unheimliche Effekt der virtuos eingesetzten Maltechnik resultiert somit aus einem üblicherweise systematisch vereinfachten Prozess der Bildproduktion. Dabei wird die Darstellung des Vermieters angesichts der Ansprüche der Traditionen der Malerei zu einer Figur des Nicht-angemessen-Seins.

 

Thompsons allegorische Bewegung von sozialen Anstandsregeln hin zu ästhetisch altmodischen Formen wird in seinem großformatigen Gemälde “The Production of an Unevenly Distributed Surplus Results from the Facticity of Format and Ground” umgekehrt. Dieses Gemälde besteht aus einem großflächigen Impasto-Gitter, das auch als unhintergehbare Matrix für die Rechtsbeziehungen zwischen den Mietvertragsparteien dienen soll. Ein Mieter hat dazu folgendes beobachtet:

 

Die Repräsentation vertraglicher Beziehungen führt häufig zu einem Exzess, einem Überschuss an den Rändern der rechtlichen Bedingungen. Von der einen zur nächsten Generation bindet der Vertrag, wenn nicht den Grundbesitz, so zumindest die Möglichkeiten seines Managements. Nicht zuletzt erleichtert und reproduziert er die zukünftige, gespenstisch reale Beziehung zwischen den Mietparteien: “Dies wurde hier bereits vor langer Zeit geregelt (also geben Sie mir bitte die Schlüssel).” (Sam Lewitt)

 

Neben diesen Bildern werden verschiedene weitere Arbeiten gezeigt, insbesondere 17 Computer-zeichnungen. In diesen Arbeiten geht es Thompson darum, Unterschiede und Gemeinsamkeiten zwischen einer Serie von Cezanne-Zeichnungen, die sich von Belluna, der zentralen Figur in Rubens’ “The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 14, 1610”, herleiten, herauszuarbeiten.

Galerie Daniel Buchholz
Neven-DuMont-Str. 17 50667 Köln
Tel 0221-2574946 Fax 253351
post@galeriebuchholz.de
www.galeriebuchholz.de

 

Cheyney Thompson
“The End of Rent Control and the Emergence of the Creative Class”

 

5 May - 3 June, 2006
opening reception on Friday, 5 May, 7-9 pm

 

Cheyney Thompson (*1975), for his first solo exhibition at Galerie Daniel Buchholz will present two series of four portraits depicting his conjugal landlords. These portraits borrow from four-color (CMYK) printing techniques which deploy layers of transparency for the production of color images. This technical function seperates the subjects of his work into sets of numeric information. In these works, the uncanny effect of virtuosic painterly technique results from an otherwise systematically deskilled procedure of image production. The disinvested image of the landlord comes to constitute a figure of impropriety for painting‘s claim to bear the weight of its own traditions.

 

Thompson‘s allegorical movement from forms of social propriety to figures of aesthetic obsolescence is inverted in his large format painting ‘The Production of an Unevenly Distributed Surplus Results from the Facticity of Format and Ground’. This painting is made-up of a large impasto grid that serves as an imposing matrix. Thompson likens this image to contractual relations between landlords and leasees. One leasee observes:

 

The representation of contractual relations between things often produces the effect of an excess, a surplus in the margins of the contract‘s legal conditions. Past from generation to generation, if not property itself, then the potential for its management, if not that then the facilitation (reproduction) of a future for the ghostly material relation that is bound by the contract: “Here the deed is done, it was done a long time ago, (now give me the keys).” (Sam Lewitt)

 

Along with these paintings several other works will be exhibited including seventeen computer drawings that attempt to plot differences and common points between a series of Cezanne drawings excuted after the central figure of Bellona in Rubens‘ “The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 14, 1610.”

Cheyney Thompson

“The End of Rent Control and the Emergence of the Creative Class”
installation view Galerie Daniel Buchholz, Köln 2006

Cheyney Thompson

“Property Owner Looking at a Poster of Cologne. No Response”, 2006
inkjet print on newspaper
61 x 45,5 cm

Cheyney Thompson

“The End of Rent Control and the Emergence of the Creative Class”
installation view Galerie Daniel Buchholz, Köln 2006

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times I”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm
detail

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times I”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm
detail

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times I”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm
detail

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times I”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm
detail

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times II”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times II”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times II”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm

Cheyney Thompson

“4 Colors Substracting Light from the Room in 6 Degrees of Intensity Repeated 4 Times II”, 2006
1 of 4 parts, oil on canvas
each 92 x 73 cm

Cheyney Thompson

“The End of Rent Control and the Emergence of the Creative Class”
installation view Galerie Daniel Buchholz, Köln 2006

Cheyney Thompson

“Table Displaying Gifts from the Landlord and Working Papers”, 2006
table, lamp, 4 computer printouts, xeroxed text with handwritten insertions, skull, glass, postcards, ventilator
174 x 184 x 76,5 cm

Cheyney Thompson

“The Substraction of Light from the Room Produces the Illusion of a Bourgeois Interior”, 2006
oil on canvas
92 x 73 cm

Cheyney Thompson

“Property Owner in the Louvre Looking at Bellona. No Response”, 2006
inkjet print on newspaper
45,5 x 61 cm

Cheyney Thompson

“The End of Rent Control and the Emergence of the Creative Class”
installation view Galerie Daniel Buchholz, Köln 2006

Cheyney Thompson

“Sets of Curves from Bellona to Rubens to Cézanne to Bezier”, 2006
2 of 17 inkjet prints on newspaper in cardboard box
each print 35,5 x 22 cm
detail

Cheyney Thompson

“The Production of an Unevenly Distributed Surplus
Results from the Facticity of Format and Ground”, 2006
oil on canvas
215 x 183,5 cm

Cheyney Thompson

“The End of Rent Control and the Emergence of the Creative Class”
installation view Galerie Daniel Buchholz, Köln 2006