mchlhrvy@gmail.com
Selected
Exhibitions
2011 Screening in group show @ HOLE, London
EverythingElse Screening in group show @ ICA, London
Performance & group exhibition
@SASG,SouthKorea.RojoBoho
Degree show @ Goldsmiths,London
Anonymat
Group show @ ‘The Lift and Hoist’ / Ramp Art Space, London
ChaussetteduTete
Group show@L’usineParis,France
Masterclass
Group show with curator Polly Staple @ Project Space, Goldsmiths, London
2009 BCBBQ
Solo show @ Brickhouse Gallery, London
X-Ray
Group screening of video work @ The Perseverance,London
Poly-Pedagogy
Curational project with Paul Crook, exhibited @ BSPACE, Goldsmiths, London
Awards and others
2011 Artist’s assistant and video editor to HilaryKoob-Sassen on Film London & Jarman
Award listed project ‘Transcalar Investment Vehicles’ to be screened at
Tate Modern.
Production assistant and camera operator to DuncanCampbell on new work for solo
show at Hotel, London.
Resident career
Guest at Geumcheon 2010 as participant & bass player in SHIMSHIMI BANDU collaboration.
A Critique of Michael Harvey
Freya Field-Donovan(Writer and Critic)
In the practice of Michael Harvey there is
an ever-present concern with translating and fragmenting formal boundaries. The
sonic becomes image; the sculptural is recoded into digital. Within these
redistributed mediums ‘marker objects’ such as scintillating sashes, flags,
drums and images of monuments act as bridges back into the prevailing order of
signification, to elaborate an expanded aesthetic exploration of these emblems
of collectivity.
Scintillation crackles and splits the lines
between human/non human, organic/manmade, image/object, technological innovation
or technological threat. Within this rupture, boundaries can dance or pulsate.
In <Who Can Divide Us?>(2012) obelisks and insignia are interspersed with
the fragments of human anatomy, juxtaposing monumentality, or abstract groupings
with the most minute and irreducible components that maintain a life. These
concoctions disenfranchise structures so as to reorganize them into a new kind
of mobile (in)coherence.
In <Lots of Love>(2010 to present)
this exploration of interpenetrating experiential spheres takes on a much more
selfconscious form, whereby digital sound is synthetically manipulated to
create analogue images on a series of television sets. This meditative process
impresses a surprisingly emotional reaction to what is in reality a technical
subversion of digital information, carving out a curiously personal space for
reflection somewhere between displacement and belonging, individual and
structure, fascination and fear.
Harvey’s work seeks to reorder information
in and around existing hierarchies of meaning or material, exposing the
possibility for movement or change within given processes: to produce
never-complete hybrids that simmer with the potential for endless maneuvers; to
re-articulate that which is already there proves a fruitful ground for a richer
understanding of that which we already know.
