– 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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Workshop

Art Safari

27 Oct, 1.00pm, Level 3: National Centre for Creative Learning

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Special Event

ARTBAR October 2017

27 Oct, 7.00pm, MCA

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Talk

Keynote lecture by Pipilotti Rist

05 Nov, 1.00pm, Level 6: Harbourside Room

– News from inside the MCA

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

Six Films that Changed My Life (for better or worse): Laura Hindmarsh

Primavera 2017 artist Laura Hindmarsh shares six films ahead of her specially curated edition of Art + Film on Saturday 16 September. more

The Many Guises of Jenny Watson

We’ll take you through some of Watson’s many alter egos that are currently housed in our Level 3 Galleries. 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.

Telling Tales: Kerry Tribe

Born 1973, Boston, US
Lives and works Los Angeles, US

Californian artist Kerry Tribe’s film works often involve the layering of stories and imagery. Tribe’s film installation There Will Be________ (2012) re-imagines the 1929 unsolved murder/suicide of oil heir Ned Doheny in his Beverly Hills home, Greystone Mansion. The mansion and its grounds have since been used as a location for the filming of many Hollywood movies. The artist has appropriated their scripts, splicing unrelated words and sentences together to generate a new narrative that explores Doheny’s demise, along with his business partner (and potential lover) Hugh Plunket.

Tribe presents her film in three acts, each offering a different version of events. It is introduced through three large photographs of the protagonists – Doheny, his wife, and Plunket – with stage effects including blood. Also included are six collages featuring words and sentences that Tribe has excised from the various Hollywood scripts to make her composite narrative. The resulting script, used by the actors in Tribe’s film, is available for viewers to leaf through. In the process the disjointed nature of the lines becomes apparent, as does the impossibility of extracting truth from fiction.

<b>Kerry Tribe</b> <i>Camille</i> 2012

Kerry Tribe Camille 2012