– 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

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


Pipilotti Rist: Sip my Ocean [Unplugged]

23 Jan, 6.00pm, Level 3: Galleries


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.

Paul Winkler: Films 1964-94

Museum of Contemporary Art Australia (MCA)


07 Jul 1995 to 10 Sep 1995

Curators: Brian Doherty & David Watson

About the Exhibition

Paul Winkler: Films 1964-94 disclosed many of the significant elements of the work of Paul Winkler, a Sydney filmmaker: his inventive means of generating an in-camera montage of disparately moving images, his mapping of the interconnecting structures of the natural and human-made environments, and his empathy with the medium of film in its simplest essentials. These methods led to the development of films which could be disorientating – often abstract and confronting.

Winkler’s art-historical influences were tangentially traceable in the work: minimal art of the 1960s and 1970s, the systemic experiments and constructions of the 1970s and the concrete poetry of the 1950s.

Although global in its appeal Winkler’s work maintains an essential Australian identity. He wrestled familiar Australian images and iconography into his often-beautiful, dense and pulsing personal vision. In his work he re-constituted and caressed Australia’s sacred 20th century sites and national shrines through the filter of his own European-migrant history.