– 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


Contemporary Kids School Holiday Program

25 Jan, 10.30am, Level 3: National Centre for Creative Learning


Art + Film

31 Jan, 6.00pm, Level 2: Veolia Lecture Theatre


Spoken Word Series

03 Feb, 1.00am, 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.

Mona Hatoum: Over My Dead Body

Museum of Contemporary Art Australia (MCA)


23 Mar 2005 to 29 May 2005

Curator: Elizabeth Ann Macgregor

about the exhibition

This was the first Australian solo exhibition of prolific Lebanese artist Mona Hatoum, whose career has spanned over three decades. Born in Beirut to Palestinian parents, Hatoum settled in London in 1975 when war broke out in Lebanon, preventing her from returning home. Much of her work reflects this experience of exile and its impact on her sense of identity. Despite the dark themes, her sculptural objects and installations also have a stark beauty. These contradictions, beauty and violence, attraction and repulsion, are key factors in her work.

Mona Hatoum: Over My Dead Body included documentation of early performances, video and key works such as Corps étranger (1994), Measures of Distance (1988), Light Sentence (1992) and Homebound (2000), and proved to be a timely exhibition, as world events focused attention on issues of identity, power and dislocation.

A major theme of the exhibition, and of Hatoum’s work, was the unsettling impact of taking a familiar situation or object and making it dangerous, or threatening. Homebound (2000), for example, was an assemblage of household furniture, kitchen utensils and other objects made of metal, joined together with electrical wire, and electrified. The current fed a series of light bulbs hidden beneath colanders, cheese graters and other objects which pulsed with the ebb and flow of electricity. The humming of the current was amplified, and the whole installation was only viewable from behind a wire fence. Hatoum has said 'if the ordinary and the everyday is portrayed as threatening it throws a doubt on your assumptions about the world around you…you begin to have to ask yourself questions, about power relationships, about who is oppressing or manipulating whom.’

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