Blog of MichaelXuereb.com

'The Collection' at New Gallery LondonExhibitions

Posted by Michael Xuereb Apr 26, 2011 10:09PM

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'The Collection' was presented by Holy Ghost at the New Gallery Londnon between 18.4.11 and 24.4.11. More info.


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Photos from the exhibition:

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more photos.








More artwork on my facebook page n'all









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7. Gallery Talks: 20 Hoxton Sq.Gallery Talks:

Posted by Michael Xuereb Feb 25, 2011 07:39AM

This interview was published online on 24th February 2011 for SAATCHI ONLINE.


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Alexander Dellal knows what he’s doing.

Imagine you wake up tomorrow and you’ve been left with a whole building in a prime prime location in London - what would you do with it? Would you turn it into a gallery? Well that’s what Alexander Dellal did 4 years ago. To see the entire interview click here.




Join the Gallery Talks: Facebook page!


Previous Gallery Interviews:

1. Gallery Talk: Riflemaker Gallery
2. Gallery Talk: Thomas Dane Gallery
3. Gallery Talk: Mummery +Schnelle Gallery

4. Gallery Talk: Hannah Barry Gallery

5. Gallery Talk: Mauger Modern Art Gallery

6. Gallery Talks: All Visual Arts

6. Gallery Talks: All Visual ArtsGallery Talks:

Posted by Michael Xuereb Dec 04, 2010 04:07AM


This interview was published online on 11th November 2010 for SAATCHI ONLINE
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Today Joe La Placa tried to convince me that the art of ‘All Visual Arts’ isn’t themed.

London’s All Visual Arts is made up of a trinity. Joe La Placa: the art insider, Mike Platt: the wealthy financier and last but not least, the artists. One wouldn’t be the same without the other two – a truly dream team of the art world.

I met Joe La Placa. Here’s how it went:

Tell us a little about your role at All Visual Arts.

JLP: AVA is a partnership between Mike Platt and myself. Mike is the CEO of BlueCrest Capital Management and I have a good forty odd years of training in the arts. The partnership was formed to build a collection by...


To see the entire interview click here.

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Join the Gallery Talks: Facebook page!


Previous Gallery Interviews:

1. Gallery Talk: Riflemaker Gallery
2. Gallery Talk: Thomas Dane Gallery
3. Gallery Talk: Mummery +Schnelle Gallery

4. Gallery Talk: Hannah Barry Gallery

5. Gallery Talk: Mauger Modern Art Gallery


Recent press on my Adam+Eve designprojects

Posted by Michael Xuereb Oct 25, 2010 04:30AM

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Blog imageThe Adam+Eve Macbook Skin sticker - follow this link to buy one.


4. Gallery Talks: Mauger Modern Art galleryGallery Talks:

Posted by Michael Xuereb Oct 07, 2010 05:57AM


Gallery talks: Art Interview with Michael Xuereb





Ever since I started writing these gallery conversations, I’ve been keeping a little list with potential galleries I come across that could make an interesting chat. Top of the list for a while has been Mauger Modern Art.

The interview turned out to be one of the most pleasant conversations about art that I ever had. The gallery owner is Richard Mauger. A very approachable, enthusiastic and down to earth person that is well connected with the artists and the artwork that he represents.

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Were you ever an artist?

I’ve made work in the past but I found it too stressful!

...more then being a gallery owner?

[laughs] I think it was actually, yeah. It doesn’t feel like it right now, because I have two galleries running at the moment, art fairs to prepare for and a house to sell! and an apartment to buy! So I do feel a bit stressed at the moment, but, essentially, I do remember feeling very stressed as an artist. It was a kind of stress I didn’t like.

I picked up the title of the gallery “...Modern Art”. If you could go back in time to when you were deciding what to name your gallery - would you have still called it Mauger “Modern Art”?

Good question. After about a year of the opening I looked at the work that I was selling and thought that maybe it should have been called “Mauger Contemporary”. But then I looked up the definitive definition of ‘modern’ and it still fits. I know ‘modern’ can be used in a classical sense but it can also mean ‘of its time’.

Yes the word ‘modern’ can be interpreted very differently. It can be the Impressionists, it can be Picasso and it can be the works produced today.

Very true. Also the word ‘contemporaries’ is a bit long, and I don’t think it sounds as good as ‘Modern’. Perhaps we’ll end up just calling the gallery ‘Mauger’. Which is an option.

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In your opinion, and with the experience you have from the kind of art you trade, is there a difference between Pop Art and Kitsch Art?

I don’t like the word kitsch. It sounds ‘throw away’. Which in fact if it’s used to describe certain artwork, maybe it’s correct. But Pop Art is by far the preferable term. It’s short for Popular isn’t it?

Yes, and current. I looked up the dictionary term for kitsch. It reads “art, objects, or design considered to be poor in taste because of excessive garishness
[Richard laughs] or sentimentality, BUT sometimes appreciated in an ironic or knowing way”

True, that’s true. But I’d rather if people appreciated art for its own sake and not for the irony contained in it.

Taking up on that, there are a number of works that you represent that contain pre-existing imagery. Such as brands, the iconic smiley face and I also see superman in one of the works. There must be something that makes you interested in the irony in that. What makes irony clever? Can it be elitist?

I think my interest is in altering these things and altering people’s reactions to an already established image. If it can do that, people find themselves waking up slightly to what they normally would walk past and think they understand with one glance. Some of the pieces are intended to make people think a little bit more. This may start to sound a bit grim but none of the work here
[at the gallery] are dark. I always like to see an element or a hint of humour, but this is not always possible.

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Lets talk art fairs - Do you enjoy participating in art fairs, or is it something that you dread doing, and only do it not to be left out?

I hate being left out!
[laughs] especially in art fairs - good art fairs that is. Well, do I like them? I hate them and I love them.

What do you hate about them? What do you love about them?

I hate standing for hours, I hate being at the edge of exhaustion and still having to smile. And if a fair isn’t selling as much as we like... I’d rather go home!

...but do you feel that it would be better if art fairs didn’t exist, and art buyers visited galleries whenever they wanted to see and buy art?

I think they are essential. It’s like having a large supermarket with a lot of corner stores inside it. It makes sense as a collector that’s interested at a particular gallery to see the gallery at a fair, where there’s another hundred other galleries. If you’re looking to find a piece of work, why not go where there’s a hundred galleries at the same time - it makes total sense.

Do you think that art fairs increase interest in art in the community?

The sheer strong armed hard-hitting PR power of the big fairs can’t but help increase awareness of art. So that’s a good thing. But when the fair disappears, then what you’re left with is the galleries. And if the galleries aren’t showing stimulating, risky and quality work, I don’t think that would be very helpful to the art and the art community. But we live in London, and in London there are weekly, even daily, exhibitions. Some commercially orientated others just doing it for the hell of it. And they all go hand in hand. Galleries need art fairs and art fairs need galleries. What I love about art fairs is the ability to meet collectors that I wouldn’t meet normally, and meet other galleries' collectors - which is what everybody loves - and hates!

What’s the next art fair you’ll be participating in?

Our next showing is in a fair in Korea called KIAF. That would be the first time we do a fair in Asia.

Have you curated the booth yet?

I’ve chosen four artists and I may sneak another seven artists in the back - in the naughty cupboard! We’re having 2 stuffed cow heads by Géza Szöllősi. I recommend checking out his website - unbelievable work! He’s in his thirties. We’ll be taking Manolo Chretien’s nose cones and some paintings by Erik Sandberg, he’s from LA.

Final question. As a gallery director, how is you relationship with your artists? Many say that it can be awkward - a kind of friends, but not friends. A kind of relationship you would have with your drug dealer!

[laughs] It may have been a little like that when I started the gallery, but more and more I seem to be working with friends, artists who became friends. Or if not friends, it’s people who I get along with very well. Before I really understood the dynamics between artist and gallerist, I remember seeing an interview at Frieze on YouTube, someone was interviewing a gallerist and asked him “who are you showing?” waiting for some big names, and the gallerist told him “I’m just showing my friends.” And I really liked that. I’m glad to say that it seems it’s something that I’m naturally gravitating to.

20-Aug-2010

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MAUGER MODERN ART
81 Rochester Row, London SW1P 1LJ
www.maugermodern.com


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Michael Xuereb
www.michaelxuereb.com
contact@michaelxuereb.com




Join the Gallery Talks: Facebook page!


Previous Gallery Interviews:
1. Gallery Talk: Riflemaker Gallery
2. Gallery Talk: Thomas Dane Gallery
3. Gallery Talk: Mummery +Schnelle Gallery

4. Gallery Talk: Hannah Barry Gallery

"Gallery Talks:" can now be read on www.catil.co.ukGallery Talks:

Posted by Michael Xuereb Aug 16, 2010 09:58PM

I have been a contributing freelance writer for MANIC Magazine for over a year now. In my regular article, titled 'Gallery Talks: Art Interview', I interview different gallery owners/directors from London for each issue, and ask them questions on a number of subjects related to their gallery, the relationship with their artists and the art market.Blog image

I am very pleased to announce that my 'Gallery Talks:' will now reach a wider audience. 'Gallery Talks: Art Interview' will now be regularly featured on www.catil.co.uk.


Contemporary Art Tours in London is run by Victoria Chaine Mendzyk. She graduated from the Royal College of Art (London) with an MA in Curating Contemporary Art, From Goldsmiths College (University of London) with a BA in Fine Art and History of Art and from Paris X (France) with a BA in Philosophy.

CATIL offers guided tours through museums, exhibitions and galleries.

Victoria Chaine Mendzyk is passionate about contemporary art and education and has worked in various international contemporary art museums and galleries. In the past two years, she co-curated Of this Tale I cannot guarantee a single word at the Royal College of Art in April 2008 and was the sole curator for Turning Points at Norwich Outpost in May 2009.


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I hope all my readers from MANIC Magazine, FAD online and CATIL are enjoying my conversations with the people I'm interviewing! Feel free to suggest anything you would like me to ask or any gallery in particular you would want me to meet.



CLICK HERE TO SEE FIRST INTERVIEW WITH HANNAH BARRY GALLERY

Join the "Gallery Talks:" Facebook Group | www.catil.co.uk


No progress in Repetitionprojects

Posted by Michael Xuereb 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.





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'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


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

Posted by Michael Xuereb Jun 22, 2010 02:54PM



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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 to purchase from several 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.

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To buy a copy, send an e-mail with your request, to: contact@michaelxuereb.com




Link to facebook page
Link to bookshops with this book in stock



www.michaelxuereb.com





"Gallery Talks:" can now be read regularly on www.fadwebsite.comGallery Talks:

Posted by Michael Xuereb Jun 09, 2010 01:55PM


I have been a contributing freelance writer for MANIC Magazine for almost a year now. In my regular article, titled 'Gallery Talks: Art Interview', I interview different gallery owners/directors from London for each issue, and ask them questions on a number of subjects related to their gallery, the relationship with their artists and the art market.


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I am very pleased to say that my 'Gallery Talks:' will now reach a wider audience. 'Gallery Talks: Art Interview' will now be regularly featured on www.fadwebsite.com.

FAD is a London based art website covering contemporary art news, street art, video, design, etc. They cover new openings, art fairs from around the world and have extensive interviews with artists themselves. As well as news from the London scene, the team at FAD covers Berlin, Paris, New York and even the Asian market.


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I hope all my readers from MANIC Magazine and FAD are enjoying my little conversations with the people I'm interviewing! Feel free to suggest anything you would like me to ask or any gallery in particular you would want me to meet.



CLICK HERE TO SEE FIRST INTERVIEW WITH RIFLEMAKER GALLERY

Join the "Gallery Talks:" Facebook Group | www.fadwebsite.com

4. Gallery Talks: Hannah Barry GalleryGallery Talks:

Posted by Michael Xuereb Jun 06, 2010 01:22AM




Gallery talks with Michael Xuereb



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I’d like to start talking about Hannah Barry Gallery by talking about another gallery: ‘All Visual Arts’. AVA is a high end, uber-slick, glitz and glamourous arts enterprise with a polished approach to everything they do. Now Hannah Barry Gallery is the antithesis of AVA. Some contrasts: AVA show their artists at One Marylebone; HBG show theirs in a converted warehouse in Peckham. AVA is the offspring of one of the biggest hedge fund CEOs; our HBG is the offspring of a bunch of college pals. At worlds apart, the thing that HBG is capable of perfectly emulating is the only thing that really matters: good art.

I met the HBG team not too far from the gallery. They were organising their next exhibition, while giggling about each other’s middle name. Hannah Barry, Ross Chalmers, Joseph Balfour, Jamie Byrom, George Howard - all sitting around a table with enough laptop power to launch a spaceship.

Most questions were answered by Hannah Barry - the distinct ringmaster.



What made you open a gallery? What is the gallery fulfilling for you?
The gallery is here to do a very simple thing: to look after new international artists and to make the very best exhibitions of their work. The gallery is very focused on solo presentations, in-depth solo exhibitions because we believe that that’s the best way to show new art.


Is there anything else - something you did not have and now you do have since you’re running a gallery?
A lot of hassle! Joking aside, the fact that we are most often working with young artists, while being young ourselves, creates a partnership of understanding. Working with your contemporaries, which become friends, makes us all work on the same level, which is a good thing.


Is there any difference for you between a good work of art by a young, un-established artist and a good work of art by an established, maybe dead, artist?
There are A-grade works, B-grade works, C-grade works, and so on. An A-grade work, in the context of what it is is always a great work. It’s just about what the ‘thing’ is. At the same time, if I’m looking at a Picasso, I’m looking at it in a different way. There is a different context, because there is a lot of history and comparison to be made, but most of the time you have to look at the ‘thing’ itself and question yourself what is the quality of that ‘thing’, not what is the quality of that person. These are two completely different things. Also different things are important at different times. What’s important to us may not be important in 25 years, while things that are not important to us now may be more important to some in 25 years. For example Jasper Jones is important in different ways, depending who you are and how you look at him, where you come from, what you do, what you think about painting, how you think about America and so on. The great thing about art is that it can involve everyone because it’s so diverse, and you always find out surprising things about yourself when you look carefully.


How do you meet your artists? How do you come across new work/artists? Do you visit a lot of degree shows?

We don’t spend that much time looking at degree shows. We’re not really thinking about ‘artist-post-degree’. We’re just thinking about having a gallery that works for the artists in it. We share with each other artists that stand out for us. We say ‘Hey you should really have a look at this artist’s work.’ Sometimes the artists that we work with say ‘Hey, just seen these paintings. Hannah, you should go have a look at them.’ Then we go and have a look at them. It’s really an organic process. You never know where the next good work is going to come from.


How much risk do you take when you come to decide what sort of art to represent?
How much risk do you think it takes to open a gallery with no backing, no money, with artists who have no reputation and begin in a world which is dangerous? That’s how much risk it takes. Art is always risky. Any kind of activity that involves supporting someone else is risky.


Yes, but is there a sort of criteria, maybe a subconscious criteria for when it comes to judging to choose the work you represent?
There is no criteria. It is about great works and whether you can do something for the artists. There are things you can do, things you can’t do, things you can learn how to do, things you can make yourself do. But there are things that will always avail you. One of the most difficult things is to learn to surrender to what you cannot do. Because there are things you just can never do and that other people will always be better then you and the best thing to do is to go and admire that person for doing what they do so well.

If your question is ‘Are we commercial?’, well, we are commercial because we have no financial backing and we have to make it all work, but there is no commercial judgment. The point is, we just have to make great exhibitions. We try to show people the importance of the things we show, and if we succeed in doing this, then it will be a success. We can’t say: ‘This is high risk art - so we won’t show it.’ There are a lot of galleries who do fantastically well showing what’s considered high-risk art, such as installation work.


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The following day I went to the exhibition venue - to The Hannah Barry Gallery itself, to take the photos you see here. Luckily for me, there was Sven Muender who gave me an impromptu guided tour like no other.

The gallery is situated in a patchy area where you wouldn’t expect a gallery to be. Neighbors include a scaffolding warehouse and a car-wash. On the other hand, if one looks at the bigger picture, it is in a location where it should be: placed ideally between Camberwell College and Goldsmiths College, with many art students crossing its paths.

The current exhibition, titled: New Work, New York consists of work of four painters from New York. Matteo Callegari, Wyatt Kahn, Erik Lindman and Anton Zolotov. As Sven explained to me, one can say it is a result of an investigation into the transatlantic exchange of abstract painting. They are all current work showcasing a variety of approaches on abstraction.

The show came to a close on 27 May, but not to worry, because on June 4th there’ll be a new one called Together Afar. The gallery is really worth visiting if you’re in London. Ask for Sven.

And speaking of exhibitions opening on June 4th (!) - I’ll have some of my own work at the RELOCATION show at the BOV head office in Malta. Would love to see you there!


16-May-2010



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Hannah Barry Gallery, Warehouse 9i, 133 Copeland Road London SE15 3SN
www.hannahbarry.com


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Michael Xuereb
www.michaelxuereb.com
contact@michaelxuereb.com


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Join the Gallery Talks: Facebook page!


Previous Gallery Interviews:
1. Gallery Talk: Riflemaker Gallery
2. Gallery Talk: Thomas Dane Gallery
3. Gallery Talk: Mummery +Schnelle Gallery


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

Posted by Michael Xuereb May 18, 2010 04:01AM

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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

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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.


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__________________________________________________________________


AVAILABLE AT Camden Lock Books

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


020 7253 0666



Blog image That's Jason Burley - the bookshop owner!

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(it is advised to check availability before visiting bookshops)


__________________________________________________________________



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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



3. Gallery Talks: Mummery + SchnelleGallery Talks:

Posted by Michael Xuereb Feb 17, 2010 05:27AM

01 / Feb / 10


Gallery talks with Michael Xuereb



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Wolfram Schnelle, co-director of Mummery + Schnelle Gallery. Our meeting was at 1pm and I’m happy to say I was there on the dot! Don’t you just love it when you arrive exactly on time for something? It makes you avoid certain awkward situations such as, if you’re early, walking around the block like a lost tourist, or if late, you’d have to introduce yourself with a “sorry I’m late”, or the more formal “apologies for being late”, which is as good as meeting your in-laws with your pants down.

Mummery + Schnelle Gallery is in prime location - a five minute walk away from Oxford Street station, which means they are either robbing a bank every other week, or they are successful enough to afford the inconceivable rent cost I’m sure they have. Its run by a director duo: Andrew Mummery and Wolfram Schnelle, I met Wolfram.


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Tell us a little about yourself and the gallery.
We opened the gallery in September 2007. Andrew Mummery has had a gallery for ten years before we opened this one together and has developed the career of probably half the artists we represent now. I met Andrew when I was doing an internship with him. It’s a good match because he is from an art-history background and I am from a business background. Before coming here, I worked in marketing for a company that produces baby diapers. But I knew I wanted to work in Art, that’s where my passion was. So I came to London to do a Contemporary Art History course at Sotheby's and then during that time me and Andrew started working together to start this gallery.


What are the benefits of being a co-director / what are the drawbacks of being a co-director?
To be honest I can only tell you advantages because in our case, having had a gallery, Andrew brings in contacts and very good artists. It would have been impossible to open a gallery and start from scratch at this time. When you have a co-director with you, there’s always a conversation with whatever happens, with discussions and confrontations which are always very constructive. I’m pleased I have a co-director and not running it on my own.


Why Contemporary Art? Why not antiques, modern art or Impressionists work?
I am very interested in the old masters, Velázquez is one of my favorite, but there’s something in contemporary art that really fascinates me and interests me in terms of working in the field. What drew me to it is working with the artists, working with somebody that is alive, that you can have a direct relationship with, someone you can see develop. I like the here-and-now of it that forces you to get thinking yourself. If I deal with old masters I would be dealing with the people that represent their work. These artists are part of the art historical canon already, while in contemporary art you don’t have that, therefore we are forced to make our own judgment, which is what fascinates me.


What is it that goes through your mind just before an exhibition opening?
Ohh! That’s interesting. It depends how you define it. Well the preparation starts six months before. Are you saying one hour before the opening?
Yes, let’s say one hour - after six months of planning, just before the people start coming in - what are you thinking?
When its all installed and all ready... Its a lot of wondering how the show will be received and hoping on practical things. You hope that the collectors you want to talk to don’t all arrive at the same time and you hope that you will have enough time to talk to all the people you are expecting. And you always want a good buzz at the opening, you don’t want just three people to be standing around.
Are you subconsciously thinking about the reputation of the gallery or potential sales?
You hope clients announce themselves, for sure. You want this to be a successful show financially for the gallery and for the artist. Ideally you want good reviews from art critics. Whenever we have an opening there’s always this slight anxiety and anticipation of what might happen and what might not happen. Its always rewarding when you have sales happening during an opening or before an opening.


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Every year, art colleges and universities are pumping out hundreds of students who think that since they have a degree in Art they are now artists - ready to exhibit. These are usually between 21 and 25. I’m mentioning this because from looking at the list of artists from your website, the average age is 47. Is there any reason why you choose to represent work from older contemporary artists?
Yes and no. This is partly because Andrew had his gallery for ten years before this one and a lot of the artists we represent are around his age so when he started he was looking at his peers. Its all tied together because when we were looking for a new space, the career of the artists represented by Andrew had reached a certain point that it made more sense for them to be located in the West End rather then the East End. This is because they were, in a way, established. And when we add artists, we keep this in mind. Not necessarily that we only choose artists of the same field, but its something we have in the back of our heads. At the same time, I go to many degree shows and we have started working with artists coming directly out of Art schools. For example, the next show we will have a project by Mariana Mauricio who finished art school last year.


Do you have any comments regarding the high volume of students studying art which many of them want to become established artists.
I think it often takes time before an artist finds their own voice. Which is something necessary and needs time to develop. I think it can be very dangerous for an artist to be picked up too early.
What makes this dangerous?
I think the danger is that you start repeating yourself, and start doing what has been successful because of market pressure, which can push you in one direction instead of being free.



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Wolfram Schnelle has to be one of the youngest gallery directors I ever met. He genuinely showed he was happy to have his position, instead of the more common gallery-director attitude that pretend they’re doing just some other job.

Our little conversation was terribly pleasant. When I got back home and listened over the recording I realised that for some reason we were speaking very softly. If I had to guess I’d say it was our subliminal reverence to the artworks that were around us in the gallery. The current exhibition at Mummery + Schnelle consists of technically inspiring, bitter sweet photography by Ori Gersht. Website to view.


Mummery + Schnelle, 83, Great Titchfield Street, London W1W 6RH www.mummeryschnelle.com


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To be notified when the next Gallery Interview is out, be sure to subscribe to this blog.

Previous Gallery Interviews:
1. Gallery Talk: Riflemaker Gallery
2. Gallery Talk: Thomas Dane Gallery



www.michaelxuereb.com
contact@michaelxuereb.com