– Highlights

Mca Collection

MCA Collection: Today Tomorrow Yesterday

01 Sep - 31 Dec


Kader Attia

12 Apr - 30 Jul


Jenny Watson

05 Jul - 02 Oct

– Learning Events

Special Event

ARTBAR June 2017

30 Jun, 7.00pm, MCA


NAIDOC Week 2017

05 Jul, 5.30pm, Level 2: Veolia Lecture Theatre


Master Class For Teachers

09 Jul, 10.00am, Level 3: National Centre for Creative Learning

– News from inside the MCA

5 Years of ARTBAR

Roaming carrots, Hummer limos, tea ceremonies and bikes in the galleries. Five years proof that anything can happen at #MCAARTBAR more

MCA at the 2017 Venice Biennale

Canals, cats and curators. Clothilde Bullen reflects on the experience of attending the 2017 Venice Biennale on the occasion of Tracey Moffat’s Australian Pavilion. more

From the archives: Unconventional Materials

From the Archives is our blog series unearthing gems from the MCA’s archives, written by resident archivist Stephanie Ferrara 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.

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