– Highlights


Pipilotti Rist: Sip my ocean

01 Nov - 18 Feb


Jon Campbell: MCA Collection

04 Dec - 25 Feb


Word: MCA Collection

04 Dec - 18 Feb

– Learning Events


Art + Film

16 Dec, 2.00pm, Level 2: Veolia Lecture Theatre


Laughter Sessions

16 Dec, 2.00pm, Level 3: Creative Studios in NCCL


ARTBAR January 2018

19 Jan, 7.00pm, Throughout the MCA

– News from inside the MCA

The Importance of Laughter

We sat down with laughter connoisseur Shari Coventry from Sydney Laughter to discover the truth about laughter and why we need it ahead of this month’s Laughter Sessions. more

Coming up in 2018…

Next year is one of the most exciting and diverse seasons yet. Find out what’s on. more

Six Films that Changed My Life (for better or worse): Antenna's Rich Welch

To pave the way for the soon-to-come cinema binge at Antenna Film Festival,Co-Director Rich Welch shared a few of his life changing films. 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.

Khadim Ali, The Arrival of Demons, 2017

Khadim Ali
Born 1978, Quetta, Pakistan. Lives and works Sydney.

The Arrival of Demons 2017
ink, gold leaf, synthetic polymer paint, gouache

Commissioned by the Museum of Contemporary Art Australia, 2016
Supported by Veolia Environmental Services


The MCA Foyer Wall Commission is an ongoing program of wall works commissioned for the Circular Quay foyer. The Museum works with artists to realise new, temporary artworks that respond to this unique dimensions, location and history of this site.

In The Arrival of Demons (2017), Khadim Ali’s massive wall mural adorning the Museum of Contemporary Art Australia’s Foyer Wall, a group of larger-than-life figures appears to congregate on the stairs leading up to the MCA Galleries.

Similar to the demon-like figures that populate much of the artist’s work, these characters, based on the hero Rostam from the tenth-century epic poem Shahnama/The Book of Kings, can embody both good and evil but here appear without wings, giving them a more sage-like presence. Most stand, hands crossed over bellies, stroking beards or leaning on the stairs. One appears to sit, elbows on thighs, looking out to the entrance of the Museum and Circular Quay beyond, the site of the first British colony, the arrival of the first ‘boat people’. While the poses of the figures suggest interaction, their mouths are closed. There is no apparent conversation here. They simply wait.

Flanking a staircase, the 15-by-seven-metre mural depicts the figures on a threshold, in some form of in-between space neither here nor there. They are backed by a wall of fiery red, licked with gold flame. Sprouts of resonant green curl up from the base of the work, immediately before and to the side of the figures, weaving into the same green as their clothing. Above them hangs a canopy of golden eucalypt foliage.

This pictorial construction is partly drawn from the illustrations that ghost the pages of the Australian passport, a document Ali, as a member of the Hazara community from Central Afghanistan, received only in 2015 after having lived in Australia since 2009. Images of apparently typical Australian subjects populate these pages, framed by overhanging native foliage that, as Ali describes, has the effect of separating the viewer from the scene before them. On receiving his Australian passport, Ali was struck by the way in which these images cast him as a viewer in a manner akin to his experience as a migrant – sat at the fringes, barely visible, peering in through the foliage upon scenarios to which he would possibly never truly belong.

This experience is both amplified and inverted in The Arrival of Demons. In a work drawing on his training in both miniature painting in Pakistan and mural painting and calligraphy in Iran, and created in paint and gold leaf applied directly to the wall over a number of weeks with the aid of assistants, the viewer is positioned looking out upon the wall from the public space of the Museum Foyer, confronting the figures at the fringes, massive and impossible to miss as they wait.

Born of Afghan Hazara parentage, Khadim Ali grew up on the Pakistan/Afghanistan border. Ali became an Australian citizen in 2015 and is currently based in Blacktown, Western Sydney.

Blair French
Director, Curatorial & Digital
Museum of Contemporary Art Australia

Work in the MCA Collection

Khadim Ali, The Haunted Lotus, 2011-12