– Highlights


Tatsuo Miyajima

03 Nov - 05 Mar

Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Aug


Primavera at 25: MCA Collection

19 Dec - 19 Mar

– Learning Events


Understanding Mindfulness Workshop

25 Feb, 12.30pm, Level 2: Seminar Room

Pop-Up Bar

Sakura Sundays

26 Feb, 3.00pm, Ground Floor: Outdoor Terrace


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

MCA Collection

Works from the MCA Collection

Collection Artist Interviews

Watch our latest interviews in the MCA Video Portal

Joint acquisitions by MCA and Tate

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

Marina Abramović: objects, performance, video, sound

Museum of Contemporary Art Australia (MCA)


10 Apr 1998 to 05 Jul 1998

Guest Curator: Chrissie Iles

about the exhibition

One of the key international figures in performance art, this was the first major solo exhibition of the work of Marina Abramović in Australia. It included a selection of sculptures from 1989 to 1998, a sound piece from 1973, a video installation created specifically for the exhibition; and an edition of 12 black and white photographs of solo performances from the early 1970s. A program of videotapes made with Ulay (a German artist with whom she had a 12-year collaboration) during the 1980s was also shown.

Abramović describes her sculptures as ‘transitional objects’. She does not consider them to be complete until the public have physically and mentally engaged with them by standing, sitting or lying in positions according to the artist’s instructions. In Wounded Geode, a long tapered geode was placed lengthwise on a grey metal table. The viewer was instructed to sit on a high metal chair at either end of the table, looking into the hollow amethyst opening, or viewing the form from its narrow closed end.

Rituals and customs from other cultures infuse Abramović’s work. God Punishing consisted of five whips made from Korean virgins’ hair which hung from the wall, behind a row of large crystals. This referred directly to the biblical story of a betrayed king who punished the sea for destroying his boats by ordering it to be whipped. Abramović’s deceptively simple objects function in the same way as her performances: as amplifiers and transformers of physical and emotional knowledge.

This exhibition was organised and toured by the Museum of Modern Art, Oxford.