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Blog of MichaelXuereb.com

Recent press on my Adam+Eve design

projects Posted on Oct 25, 2010 04:30AM






















The Adam+Eve Macbook Skin sticker – follow this link to buy one.



No progress in Repetition

projects Posted on Aug 15, 2010 04:55PM

Sculpture by London based conceptual artist Michael Xuereb.

Progress surrounds and time progresses, but I am still.
Over and over, the same. Again and again, ennui.
Paralyzed while conscious, on the roadside of life. How much longer can I wait? Frustration as my hands are tied behind my back, on this ride of apathy and loss.
No progress in repetition.



‘No Progress in Repetition’
is made from acrylic resin. It is signed and numbered from an edition of 10. Special thanks to Patrick Mifsud for technical help to make it.

More images of ‘No Progress in Repetiton’

Michael Xuereb’s facebook page



Everything you need to know about Christianity, Islam, Buddhism and other major Religions.

projects Posted on May 18, 2010 04:01AM

This publication is a limited edition book. Everything you need to know about Christianity, Islam, Buddhism and other major Religions is the first book by Michael Xuereb. It is self published – and now available in two bookshops in London.

There are two versions – a small version with a limited press amount of 1500 copies, and a larger hardbound version, limited edition of 100.

AVAILABLE AT bookartbookshop


bookartbookshop
17 Pitfield Street, Hoxton
LONDON N1 6HB


020 7608 1333

www.bookartbookshop.com

bookartbookshop features the publications of some of Britain’s
best-known artist presses and publishers of artists’ books, as well as
books from abroad. The shop is a centre and a service for individual
& institutional collectors, artists, publishers and the
aesthetically and bibliographically curious.


__________________________________________________________________

AVAILABLE AT Camden Lock Books


Camden Lock Books
Old Street Station
(inside the station)
London
EC1Y 1BE

020 7253 0666

That’s Jason Burley – the bookshop owner!

(it is advised to check availability before visiting bookshops)

__________________________________________________________________

For any questions or to discuss purchasing a copy of this book from outside the UK, e-mail: contact@michaelxuereb.com

For more info and to keep up-to-date with any new bookshops stocking Everything you need to know… visit it’s Facebook page.

www.michaelxuereb.com



After my work at Frieze Art Fair

projects Posted on Nov 17, 2009 11:41PM

On Friday 16th October I showed one of my art pieces at Frieze Art Fair. The booth was commissioned by Frieze Projects, and curated by the Lisbon-based curatorial team Filipa Oliveira and Miguel Amad. The project was titled IMPOSSIBLE EXCHANGE.

My work was a part of a project of the New York artist Brina Thurston.
Brina’s project considers the ostensibly democratic process
by which art institutions invite artists to submit works to be
considered for exhibition, but in which many factors other than quality
and merit operate.

The exhibited piece is titled: The land was drained and the boggy ground’, 2009 (below)

The land was drained and the boggy ground‘ was displayed at the fair throughout the day at the P1 booth, near the VIP room entrace of the fair.

As part of the event, I had a public dialogue with Michele Robecchi, who is art writer and editor at Phaidon Press.

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To see the image at a high resolution click here.
To view more of my work this is a link to my gallery page.

To stay up to date with future exhibits, be sure to subscribe to the rss feed of the blog.



My work at Frieze Art Fair

projects Posted on Oct 13, 2009 08:51PM

13/10/09

Frieze Art Fair takes place every October in Regent’s Park, London. The
fair showcases new and established artists to an international
audience.


On Friday 16th October I will be showing one of my works for the Lisbon-based curatorial team Filipa Oliveira and Miguel Amad. The project is titled Arte Contempo and is commissioned for Frieze Projects.

My work will be part of a project of Brina Thurston, titled OpenCall. Brina’s project considers the ostensibly democratic process
by which art institutions invite artists to submit works to be
considered for exhibition, but in which many factors other than quality
and merit operate.

The piece I will be showing is titled: The land was drained and the boggy ground’, 2009 (below)

The land was drained and the boggy ground‘ will be displayed at the fair throughout the day. At 3.00pm I will be in a public dialogue with a critic/curator, so if you happen to be around do come and visit. Arte Contempo is located opposite gallery stand G1, near the VIP room entrance of the fair.



The ‘Since When?’ Canvas

projects Posted on May 04, 2009 01:03AM

Last October I found an opportunity to submit a painting for an art competition in the UK. The conditions of the competition stated that participants had to send in a painting to be considered for an exhibition.

The organizers were clearly doing it for the money because they had a lot of sponsors and they were to keep a high commission of paintings that were to be sold. To top it off they were also asking for a £20 just to participate. At the time I thought that this wasn’t fair on artists and my first reaction was not to take part.

(I felt a bit rebellious and I was in a bad mood) ..so I decided to submit a ‘protest-painting’ and give them a piece of my mind, with a canvas I called ‘Since when?’.

I wasn’t expecting they would accept it, but to my surprise they did! And my painting was part of the 10% of submissions they accepted, and it ended up in the exhibition and the event catalogue. (and it’s also on their website) Needless to say it got a lot of reaction. The judges to this competition were Professor Maurice Cockrill RA, Keeper of the Royal Academy Schools, Richard Cork, Art Critic, and the artist Gavin Turk.

I talk about this in the clip below:

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now I feel better.



The Pedestrian Glimpse

projects Posted on Apr 23, 2009 12:57AM

A social experiment on the reactions to visuals by the general public. A performance art. (presentation: 19mins.)

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In our various sub-projects we, essentially, repeated the same exercise over and over again, using different visuals on each project. Fundamentally our project ended up examining and experimenting to find how visuals function on the general public.

Our project is a combination of various projects exploring thought provocation techniques, our audience being the general public. To execute these exercises we developed unconventional methods, while using a range of visuals.

As one of our common display cases we uses a hand held advertising sign.

In the first project we used appropriation to extract an uncanny image intended to advertise as our visual, presenting our image in the shopping capital of London, Oxford Street. The location was chosen to present the image to the same audience it was intended for. In a way it turned out to be a provocative silent protest against visual advertising.

As an inspiration to the second exercise, we worked with the pop art ideology of reflecting society on it’s self, literarily. By using a reflective surface we stemmed away from the conventional means of an illustrated image. Reflections, being one of the most common visual experiences, we engaged to examine it in a different way, by using a surface that has an ever changing image.

Using the same sign we wanted to play on the idea of surveillance using a video camera through the sign its self, through the image of a camera pointing down on the crowds passing. Capturing peoples reactions towards our visual, and recording how they altered their natural reactions.

In another exercise we conducted a play on the media using the London Paper as our distributing technique. Constructing our own front covers, with shocking ‘made-up’ news articles and in another including fabricated irrelevant articles. These were done in a convincing way to perplex whomever the altered newspaper reached. Having much the same aims as Orson Wells, when making the BBC radio broadcast War of the Worlds we wanted people to think before believing what the media is feeding us.

This project was not intended to be credited by our images of people’s reaction but only are means of documentation of our project.

This project was a team assignment done with Oleg Tolstoy. We also had help from George Mario Attard.