– 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 Dec

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Exhibition

Primavera at 25: MCA Collection

19 Dec - 19 Mar

– Learning Events

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Pop-Up Bar

Sakura Sundays

05 Mar, 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

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Conference

Educators conference: 6-7 April

06 Apr, 6.00pm, Level 3: National Centre for Creative Learning

– News from inside the MCA

Ode to typography: Interview with Will Lynes

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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.

Phantasmagoria: Pre-Cinema to Virtuality

Museum of Contemporary Art Australia (MCA)

Duration

27 Mar 1996 to 14 Jul 1996

Artists:

Agnes Hegedüs, Toshio Iwai, Georges Méliès, Tony Oursler

Curators:

Peter Callas & David Watson

about the exhibition

Phantasmagoria: Pre-Cinema to Virtuality paid homage to the world’s first purpose-built cinema, opened on 4 April 1886. It was a magic theatre remodelled by magician-turned-filmmaker Georges Méliès, the first artist of cinema. The exhibition considered the history of cinema as it looked to the future with the work of three prominent video and computer artists whose contemporary explorations shared Méliès’ spirit: Toshio Iwai, Agnes Hegedüs and Tony Oursler.

The term Phantasmagoria refers to imagery and illusion such as those seen within a dream or when in the grips of fever, and has a historical connection to an 18th century magic trick in which a lantern projected disturbing illuminations and apparitions, terrifying audiences of the day.

The exhibition included four complementary installations charting recent works by artists whose extraordinary innovations in new media revived a sense of awe and delight in the moving image, reimagining the impact experienced by the first film audiences in Méliès’ ‘magic cinema’.

A two part screening program accompanied the exhibition: a retrospective of the films of Méliès was coupled with a program of film, television and video examining his impact.