– Highlights

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Exhibition

Primavera 2017

23 Aug - 19 Nov

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Exhibition

Hilarie Mais

23 Aug - 19 Nov

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Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Aug

– Learning Events

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Talk

2017 Lloyd Rees Lecture

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

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Workshop

Art Safari

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

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Event

Artbar November 2017

24 Nov, 7.00pm, 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.

11th Biennale of Sydney: Every Day

Museum of Contemporary Art Australia (MCA)

Duration

18 Sep 1998 to 08 Nov 1998

Artists:

Vladimir Arkhipov, Frédéric Bruly Bouabré, Thomas Demand, Ding Yu, Margaret Robyn Djunginy, Henriette Heise, Gavin Hipkins, Ann Veronica Janssens, Patrick Killoran, Udomsak Krisanamis, Henrietta Lehtonen, Yuri Leiderman, Beatriz Milhazes, Ani O’Neill, Julian Opie, Platter/Clarke/Rodenrys, Joe Scanlan, Yoshihiro Suda, Rover Thomas, Pekka Turunen, Richard Venlet, Franco Vimercati, Zhao Bandi, Zhu Jia

Artistic Director:

Jonathan Watkins

About The Exhibition

The works selected in this Biennale were characterised by efficacy and unpreciousness. They were unforced artistic statements, incidentally profound observations on the nature of life as lived every day. Their impetus, derived from what is ordinary, was not unlike that which led 19th century French artists to their realist and subsequently impressionist positions. It was more human than spiritual, more empiricist than idealistic, more philosophical than ideological.

Although this Biennale sprung from a Western context, there was significant correspondence with a wide range of cultural traditions increasingly being acknowledged through a new internationalism. The curatorial approach was to attempt an understanding of the relativism of the every day, the differences between what is familiar, common or ordinary within the diversity of cultures represented. The aim was to communicate the nature of the every day and to be culturally specific, declaring differences without resorting to exoticism particularly in the presentation of non-Western art.