– Highlights

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Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Dec

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Exhibition

The National 2017

30 Mar - 18 Jun

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Exhibition

Kader Attia

12 Apr - 30 Jul

– Learning Events

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Tour

Art Baby

04 May, 10.30am, MCA

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Event

WORKSHOP FOR PRIMARY TEACHERS

12 May, 9.00am, Level 3: National Centre for Creative Learning

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Event

MCA Zine Fair 2017

21 May, 10.30am, MCA

– News from inside the MCA

Young Art Lovers' Book List

To celebrate World Book Day (Sunday 23 April) the MCA Store and MCA Learning crew have teamed up to put together a selection of fun, inspiring and engaging titles sure to spark the imaginations of budding artists and creative thinkers. more

From the archives: Curious catalogue

Never judge a book by its cover? In this issue of our monthly archive series, MCA Archives and Records Management Coordinator, Stephanie, leafs through some unusual pages more

Girl On Film: Erin Coates

The National 2017: New Australian Art artist Erin Coates gets in the driving seat for our April film experience 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.

11th Biennale of Sydney: Every Day

Museum of Contemporary Art Australia (MCA)

Duration

18 Sep 1988 to 08 Nov 1998

Artists:

Vladimir Arkhipov, Frédéric Bruly Bouabré, Thomas Demand, Ding Yu, Margaret Robyn Djunginy, Henriette Heise, Gavin Hipkins, Ann Veronica Janssens, Patrick Killoran, Udomsak Krisanamis, Henrietta Lehtonen, Yuri Leiderman, Beatriz Milhazes, Ani O’Neill, Julian Opie, Platter/Clarke/Rodenrys, Joe Scanlan, Yoshihiro Suda, Rover Thomas, Pekka Turunen, Richard Venlet, Franco Vimercati, Zhao Bandi, Zhu Jia

Artistic Director:

Jonathan Watkins

About The Exhibition

The works selected in this Biennale were characterised by efficacy and unpreciousness. They were unforced artistic statements, incidentally profound observations on the nature of life as lived every day. Their impetus, derived from what is ordinary, was not unlike that which led 19th century French artists to their realist and subsequently impressionist positions. It was more human than spiritual, more empiricist than idealistic, more philosophical than ideological.

Although this Biennale sprung from a Western context, there was significant correspondence with a wide range of cultural traditions increasingly being acknowledged through a new internationalism. The curatorial approach was to attempt an understanding of the relativism of the every day, the differences between what is familiar, common or ordinary within the diversity of cultures represented. The aim was to communicate the nature of the every day and to be culturally specific, declaring differences without resorting to exoticism particularly in the presentation of non-Western art.