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Primavera 2017

23 Aug - 19 Nov


Hilarie Mais

23 Aug - 19 Nov

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01 Sep - 31 Aug

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2017 Lloyd Rees Lecture

22 Nov, 6.00pm, Level 2: Veolia Lecture Theatre


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24 Nov, 1.00pm, Level 3: National Centre for Creative Learning


Artbar November 2017

24 Nov, 7.00pm, MCA

– News from inside the MCA

The Importance of Laughter

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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

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Erwin Wurm: Glue Your Brain

Museum of Contemporary Art Australia (MCA)


28 Nov 2005 to 12 Feb 2006

Curator: Antonella Soldaini

about the exhibition

The first solo exhibition in Australia of Austrian artist Erwin Wurm, this exhibition brought together a selection of significant earlier works as well as his more recent explorations. Through experimentation in performance, photography, installation, drawing, video and text, Wurm pushes the boundaries of sculpture by investigating elements of time, mass, and material form. The exhibition offered a comprehensive picture of Wurm’s vision, ranging from video footage to live sculptures to do-it-yourself artistic statement. Among the best known pieces were his One Minute Sculptures 1997, a collection of 48 still shots of men and women choreographed into absurd, whimsical and often dangerous positions with inanimate objects.

Wurm’s work is concerned with finding ways to extend the associated with pioneering performance and conceptual art of the 1960s, into formal works of sculpture. While appearing purely comical on the surface, there are complex messages beneath these temporary sculptures that elevate them above the status of mere incident, form, and behaviour. These sculptures provide satirical commentary on life and art. In this exhibition, visitors were invited to participate in the artwork, physically interacting with his ‘ready-mades’ such as a dog kennel, flowers and tennis balls. The artist drew on well-known sculptural and performance traditions of the twentieth century but at the same time engaged with today’s social concerns and behavioural taboos, from paranoia to indifference.

Supported by

Supported by the Federal Chancellery – Department for the Arts, Austria

Supported by

Part of the official program of the Sydney Festival 2006