– Highlights

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Exhibition

Tatsuo Miyajima

03 Nov - 05 Mar

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Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Aug

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Exhibition

Primavera at 25: MCA Collection

19 Dec - 19 Mar

– Learning Events

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Workshop

Understanding Mindfulness Workshop

25 Feb, 12.30pm, Level 2: Seminar Room

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Pop-Up Bar

Sakura Sundays

26 Feb, 3.00pm, Ground Floor: Outdoor Terrace

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Workshop

Contemporary Art Studio

09 Mar, 10.30am, Level 3: National Centre for Creative Learning

– News from inside the MCA

Ode to typography: Interview with Will Lynes

Signwriter Will Lynes used traditional signwriting techniques to free-hand paint the text ‘Everything Else’ on this 17-metre long wall painting. Will muses on the emotive quality of typography and how he works. more

5 tips for applying for the MCA Zine Fair

Want to show your zine-work at the 2017 MCA Zine Fair? Here we share our tips for applying more

Louise Zhang's horror infused ARTBAR

Navigating the space between attractive and repulsive, Chinese-Australian artist Louise Zhang kicks off the ARTBAR year in suitable style with a night entitled ‘New Year’s Rot’. more

– Spotlights from the collection online

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MCA Collection

Works from the MCA Collection

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Collection Artist Interviews

Watch our latest interviews in the MCA Video Portal

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Joint acquisitions by MCA and Tate

The Program promotes Australian art globally, helping Australian artists reach new audiences.

20TH BIENNALE OF SYDNEY: THE FUTURE IS ALREADY HERE – IT’S JUST NOT EVENLY DISTRIBUTED

Museum of Contemporary Art Australia (MCA)

Duration

18 Mar 2016 to 05 Jun 2016

Artists:

Nina Beier, Céline Condorelli, Daniel Boyd, Noa Eshkol, Germaine Kruip, Adam Linder, Kazimir Malevich, Helen Marten, Shahryar Nashat, and Dayanita Singh. Additionally, Richard Bell’s Embassy occupied the MCA forecourt as one of the 20th Biennale’s ‘in-between’ projects.

Curator:

Stephanie Rosenthal

About the Exhibition

The title of the 20th Biennale of Sydney, The future is already here – it’s just not evenly distributed, was drawn from a comment by leading science-fiction author William Gibson. It spoke to the fact that the exhibition was about the now. It also served as a reminder that access to information, the internet and other more basic resources is by no means universal; many people are denied the opportunity to benefit from (or participate in) these new spaces where information can be exchanged.

This Biennale was structured around a series of thematic clusters, conceived as ‘embassies’, with each exhibition space providing a transient home for particular constellations of thought – promoting dialogue and understanding through the coming together of ideas in a particular location. The MCA was the Embassy of Translation, which summoned a selection of artworks and artistic practices that contextualised historical positions, concepts and artefacts alongside contemporary concerns and working methods. Under the key term, ‘Translation’, this embassy brought together strategies and approaches that revisit historical material, probing them for ongoing relevance and currency, asking what it means for an artistic practice to work with history as one material amongst others, to restage it now and to bridge the temporal gap through translation and reinvention.