– Highlights

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Exhibition

Pipilotti Rist: Sip my Ocean

01 Nov - 18 Feb

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Exhibition

Jon Campbell: MCA Collection

04 Dec - 25 Feb

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Exhibition

Word: MCA Collection

04 Dec - 18 Feb

– Learning Events

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Event

ARTBAR January 2018

19 Jan, 7.00pm, Throughout the MCA

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Workshop

Contemporary Kids School Holiday Program

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

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Tour

Art Baby

06 Feb, 12.30pm, 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

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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.

MAO GOES POP: China Post 1989

Museum of Contemporary Art Australia (MCA)

Duration

01 Jun 1993 to 15 Aug 1993

Artists:

Ah Xian, Cai Jin, Ding Fang, Ding Yi, Feng Mengbo, Fu Zhongwang, Gu Wenda, Guan Wei, He Sen, Hong Hao, Li Shan, Liu Dahong, Liu Ming, Liu Wei, Pan Dehai, Song Yonghong, Sui Jianguo, Tang Song/Xiao Lu, Wang Guangyi, Wang Jianwei, Wang Jingsong, Wang Ziwei, Wei Guanqing, Xia Xiaowan, Xu Bing, Yu Youhan, Zhang Peili, Zhang Xiaogang

Guest Curators:

Chang Tsong-zung & Li Xianting

About the exhibition

MAO GOES POP: China Post 1989 was a major international group exhibition of contemporary Chinese artists who were involved in the avant-garde movement of the 1990s. The exhibition was curated by Chang Tsong-zung and Li Xianting, and originally presented in a different configuration with the title China’s New Art, Post 1989 at the Hong Kong Arts Centre in February 1993. The exhibition subsequently toured in a reduced form to Sydney, Melbourne, Vancouver, and five venues in the United States.

In its original form, the exhibition included over 200 works by 51 artists, including paintings, sculptures and installations. It sought to present a coherent view of the cultural sensibilities of the Chinese avant-garde movement in the post-Tiananmen era. Works explored the disillusionment and cynicism of many in Chinese society at the time, and emphasised the power of art as a force for social change and creative response.