2014 MCA Annual Report - Museum of Contemporary Art

Transcription

Qa
The MCA is Australia’s Museum of Contemporary Art,
dedicated to exhibiting, collecting and interpreting
the work of today’s artists.
Located on one of the world’s most spectacular sites on the edge of
Sydney Harbour, opposite the Sydney Opera House, the Museum
presents vibrant and popular exhibition and learning programs that
continually inspire people. With an entire floor dedicated to the MCA
Collection and two floors featuring changing exhibitions showcasing
Australian and international artists, the Museum offers a major
national resource for education and interpretative programs.
The National Centre for Creative Learning including a library, digital and
multimedia studios, a seminar room and lecture theatre, provides
spaces for people of all ages to create and connect with art and artists.
Site-specific commissions take art outside the galleries, and the MCA
continues to engage with audiences beyond its harbourside home
through a program of touring exhibitions and C3West, a collaboration
with both arts and non-arts partners in Western Sydney.
Front Cover Image: Sunday Family Fun Day Corroboree 2014. Featured: Ngamaru Bidu, Yikartu Bumba,
Kumpaya Girgirba, Thelma Judson, Yuwali Janice Nixon, Reena Rogers, Karnu Nancy
Taylor, Ngalangka Nola Taylor, Yarrkalpa - Hunting Ground, Parnngurr Area, 2013, synthetic polymer
paint on linen, image courtesy and © the artists, photograph: Maja Baska
This page: Façade of the Mordant Wing, MCA, 2013, photograph: Pieter Naessens
2
The MCA is Australia’s Museum of
Contemporary Art, dedicated to exhibiting,
collecting and interpreting the work of today’s
artists.
Located on one of the world’s most spectacular sites on the
edge of Sydney Harbour, opposite the Sydney Opera House,
the Museum presents vibrant and popular exhibition and
learning programs that continually inspire people. With an
entire floor dedicated to the MCA Collection and two floors
featuring changing exhibitions showcasing Australian and
international artists, the Museum offers a major national
resource for education and interpretative programs.
The National Centre for Creative Learning including a library,
digital and multimedia studios, a seminar room and lecture
theatre, provides spaces for people of all ages to create and
connect with art and artists.
Site-specific commissions take art outside the galleries, and
the MCA continues to engage with audiences beyond its
harbourside home through a program of touring exhibitions
and C3West, a collaboration with galleries and non-arts
partners in Western Sydney.
CONTENTS
4 Chairman’s and Director’s Messages
5 2014 Highlights
6 Curatorial and Digital
7
Exhibitions and Touring
15
Building Commissions
16
C3West
17
MCA Publications
18
Digital Interpretation
20
Gifts and Purchases
22 Audience Engagement
23
Public Engagement
25
Student and Teacher Engagement
26
Visitor Experience
27
Communications
28 Development and Enterprises
33 Financial Report
Stuart Ringholt, Untitled (Clock), 2014, installation view
Taking it all away, Museum of Contemporary Art
Australia 2014, clockwork, tubular bells, world globe,
steel, glass, electronics, Museum of Contemporary Art,
purchased with funds provided by the MCA Foundation,
2014, image courtesy and © the artist, photograph:
Christopher Snee
3
CHAIRMAN’S MESSAGE
DIRECTOR’S MESSAGE
Simon Mordant AM and Elizabeth Ann Macgregor OBE in front of Daniel Boyd, Untitled (detail), 2014, mirrored disks, synthetic polymer paint on wall, commissioned
by the Museum of Contemporary Art, 2014, supported by Veolia Environmental Services, image courtesy and © the artist, photograph: Tristan Deratz
Art and its creators are central to a vibrant and thriving
society, enriching our lives by unleashing our curiosity
and creativity and challenging us to look at things from
a different perspective.
In 2014 the MCA has continued to take a leadership
role in shaping an Australia that values contemporary
art and artists. 2014 has seen an outstanding increase
in the number of people engaging with the Museum’s
learning programs. Visitor numbers again exceeded
expectations and over 2.6 million people have now
visited the MCA since the re-opening in March 2012.
A sound financial position has been maintained with
over 75% of income raised through non-government
sources, a testament to ‘our own entrepreneurialism’ as
the Prime Minister noted. Today museums rely on the
generosity of benefactors, corporates, philanthropists
and art lovers. The support of our partners continues to
provide opportunities for all Australians to experience
art and art-making and to inspire us all to think
differently.
Simon Mordant AM
When we were planning the new MCA we dreamt
big, not just with our ambitions for the site at The
Rocks but also for the connections we wanted to
build beyond the walls of the MCA. As we conclude
the second year since reopening, I am happy to see
that we continue to surpass these and set even
greater challenges for the future.
While artists, creativity and learning are at the heart
of everything we do at the MCA, so are our
audiences, in Sydney and beyond. In 2014 we
facilitated some ground-breaking collaborations
between artists and communities – the
extraordinary C3West projects Transforma and
Sleepers Awake, the beautiful and vibrant Martu
Art from the Far Western Desert exhibition and the
sound-filled experience that was Sonic Social.
The MCA Collection and our public programs
continue to involve and inspire on-site and off.
Thank you again to our loyal patrons and sponsors
for helping us to support artists in transforming
lives and communities and enriching our world.
Elizabeth Ann Macgregor OBE
4
2014 HIGHLIGHTS
⎯ 914,7131 people visited the MCA in 2014
− and we welcomed our Two Millionth visitor less than 2 years since
reopening
⎯ More than 200 artists were represented in the exhibition and
touring programs
− 68 works added to a Collection of over 4,000
⎯ 173,418 people visited one of four MCA exhibitions on tour in 2014
⎯ Over 81,000 creative learning program participants
− including 14,462 participants in our Kids & Families programs and
1,708 students with special needs and their carers attending one of
our Bella programs.
⎯ Over 8,500 people were guided through the MCA by 36 dedicated
voluntary guides
⎯ An average of over 56,000 unique website users each month
⎯ Facebook fan base grew by 60%, reaching 75,000
⎯ 50% more e-news subscribers
⎯ 75% of total income earned from MCA’s own sources
1 The MCA uses a digital traffic management system, Traffic Pro, to obtain attendance figures. Sensors that monitor traffic are placed throughout
the Museum. This information is then transmitted to the MCA’s servers for analysis. The system utilises formulas to calibrate figures to reflect real
visitor movement. The system and recording equipment are monitored and regularly audited. Gallery traffic is also manually recorded by floor staff
at the principal entrance to the galleries.
5
CURATORIAL AND DIGITAL
MCA Annual Report 2014
Curatorial and Digital
In 2014, the MCA presented
•
2 continuing exhibitions (from late 2013)
•
6 new MCA exhibitions
•
the 19th Biennale of Sydney
•
continuously refreshed MCA Collection
displays including new acquisitions
•
tours of 3 MCA exhibitions
•
3 major C3West projects
•
4 new building commissions
•
a performance season
•
6 new print publications.
Jugarda Dulcie Gibbs, Muni Rita Simpson, Muntararr Rosie Williams, Minyipuru
(Seven Sisters), 2007, installation view, Martu Art from the Far Western Desert,
Museum of Contemporary Art Australia, 2014, synthetic polymer paint on linen,
Collection of National Museum of Australia, image courtesy and © the artists,
photograph: James Brown
6
EXHIBITIONS
WAR IS OVER (IF YOU WANT IT): YOKO ONO
15 November 2013 – 23 February 2014, ticketed
Curator Rachel Kent
The works of legendary artist, peace activist and musician Yoko Ono came exclusively to Sydney for the Sydney
International Art Series. Recognised as an innovative artist whose work traverses generations, Ono’s conceptual
masterpieces comprised sculpture, immersive installations, written texts, films, sound compositions and
participatory art works which involved a range of hands-on activities – from mending and arranging broken
crockery, to stamping world maps with peace stamps.
Venue
Dates
Duration (Days)
Total Visits
MCA
15 November 2013 – 23 February 2014
100
74,612
NEW ACQUISITIONS IN CONTEXT 2013
12 December 2013 – 23 February 2014, free entry
Curators Anna Davis and Megan Robson
Works recently acquired by the Museum were brought together with artworks from the existing MCA and JW
Power Collections, celebrating the diversity of contemporary artistic practice and providing an insight into the
development of the Collection. Works by 28 Australian and international artists were featured across a range of
media from painting and photography to moving image and installation.
Venue
Dates
Duration (Days)
Total Visits
MCA
12 December 2013 – 23 February 2014
74
119,276
Yoko Ono, Morning Beams, 1996, installation view, War Is Over! (if you
want it): Yoko Ono, Museum of Contemporary Art Australia 2013-14, 100
nylon ropes, metal support structure, wood, image courtesy and © the
artist, photograph: Maja Baska
Louise Weaver, It would seem that eyes can live without hearts (Oracle Fox),
2005, installation view, MCA Collection: New Acquisitions in Context,
Museum of Contemporary Art Australia, 2013, wool, foam, glass, felt, nylon,
cotton, perspex, plastic, lurex thread, Swarovski crystals, wood, Museum of
Contemporary Art, purchased with the assistance of Jill & Michael Hawker,
Andrew Cameron, John Reid, Mark Nelson and silent pledge at Bella Dinner,
2006, image courtesy and © the artist, photograph: Alex Davies
7
19TH BIENNALE OF SYDNEY: YOU IMAGINE WHAT YOU DESIRE
21 March – 9 June 2014, free entry
Artistic Director Juliana Engberg
Under the artistic direction of Juliana Engberg, the 19th Biennale of Sydney celebrated the imagination in a
spirited exploration of the world. Taking over two floors of the MCA, 20 artists drew on elements of air and water
as well as the realms of the imaginative and the surreal.
Venue
Dates
Duration (Days)
Total Visits
MCA
21 March – 9 June 2014
81
228,154
TABAIMO: MEKURUMEKU
3 July – 7 September 2014, free entry
Curator Rachel Kent
Japanese artist Tabaimo’s video works immersed gallery visitors within constantly moving, changing
environments that combined visual imagery and sound. Using single or multiple screens within purpose-built
architecture, they depicted people, cityscapes, objects and events that unfolded with often surprising outcomes.
Set in motion as animated sequences of imagery in theatrical, set-like spaces, the resulting works peer into
hidden corners of the human psyche to reveal a world of beauty, anxiety and horror.
Venue
Dates
Duration (Days)
Total Visits
MCA
3 July – 7 September 2014
67
106,540
19th Biennale of Sydney: You Imagine What You Desire, installation view,
Museum of Contemporary Art Australia, 2014. Featured: TV Moore, image
courtesy and © the artist, photograph: Maja Baska
Tabaimo, Japanese Commuter Train, 2001, installation view, Tabaimo:
MEKURUMEKU, Museum of Contemporary Art Australia, 2014, video
installation, 8:03 minute loop, image courtesy and © the artist, photograph:
Alex Davies
8
ANNETTE MESSAGER: MOTION / EMOTION
24 July – 26 September 2014, free entry
Curator Rachel Kent
For her first Australian survey exhibition this leading French artist whose extensive body of work encompasses
drawing, photography, needlework, sculpture and installation showed works from 1972 to the present, including
major installations with kinetic or moving elements. At once playful and disturbing, Messager’s works are modest
in their choice of materials. Clothing, badges, stuffed toys, yarn and synthetic hair all featured prominently,
reworked by the artist to unsettling effect.
Venue
Dates
Duration (Days)
Total Visits
MCA
24 July – 26 September 2014
67
106,540
MARTU ART FROM THE WESTERN DESERT
24 September – 30 November 2014, free entry
Curators Anna Davis and Megan Robson
This selection of collaborative paintings by 29 Martu artists of their Ngurra (Country), a vast area that crosses
the Great Sandy, Little Sandy and Gibson Deserts in Western Australia depicted the desert landscape and its
stories in intricate detail. The artworks displayed the beauty and diversity of this remote expanse; some works
pulsated with kaleidoscopic colour and pattern, while others were more subdued, depicting the area’s shimmering
salt lakes.
Venue
Dates
Duration (Days)
Total Visits
MCA
24 September – 30 November 2014
68
106,755
Annette Messager, Chimères — Chimeras (detail), 1982–84, installation
view, Annette Messager: motion/emotion, Museum of Contemporary Art
Australia, 2014, painted black and white photographs on canvas, image
courtesy and © the artist, photograph: Alex Davies
Martu Art from the Far Western Desert, installation view, Museum of
Contemporary Art Australia, 2014, image courtesy and © the artists and
Martumili Artists, photograph: James Brown
9
PRIMAVERA 2014: YOUNG AUSTRALIAN ARTISTS
24 September – 30 November 2014, free entry
Curator Mikala Dwyer
This annual exhibition showcasing the work of young Australian artists featured 13 artists from around the
country in an exhibition that was verdant, abundant, lively and unruly. Featured works included Ben Denham’s
drawing machine; Nick Dorey’s alchemical installation; Caitlin Franzmann’s audio helmets; video work by Madison
Bycroft, Hossein Ghaemi and Ishmael Marika; Emily Hunt’s wall hangings, ceramics and prints; Barauwa
Mununggurr’s shelter and bark works; sculptures by Sean Peoples’ along with his exploration of unconscious
communication with The Telepathy Project (Sean Peoples and Veronica Kent); paintings by Alison Puruntatameri;
Lucienne Rickard’s fragile drawings; sculptural works by Marian Tubbs that incorporated 3D printing, found
objects and visual imagery; and Paul Yore’s vibrant embroidered tapestries.
Primavera was initiated in 1992 by Dr Edward Jackson AM and Mrs Cynthia Jackson AM and their family in memory of their daughter and sister Belinda, a
talented jeweller who died at the age of 29. The exhibition commemorates Belinda Jackson by celebrating the creative achievements of talented young
artists who are in the early stages of their careers.
Venue
Dates
Duration (Days)
Total Visits
MCA
68
120,485
CHUCK CLOSE: PRINTS, PROCESS, COLLABORATION
20 November 2014 – 15 March 2015, ticketed
Curator Terrie Sultan, Consulting Curator Glenn Barkley
This comprehensive survey of the work of one of America’s foremost visual artists revealed the artist’s range of
invention across a breadth of printmaking techniques including etching, aquatint, lithography, handmade paper,
direct gravure, silkscreen, traditional Japanese woodcut and reduction linoleum block prints. Closes’s work is
characterised by the way he pushes these techniques to their limits and the high level of skill required in the
production of these works, with some prints taking up to two years to realise. Famed for his massive, technically
inventive and often hyper-real portrait paintings, the exhibition featured many of Closes's iconic portraits of
artists, public figures and celebrities as well as his highly-acclaimed self portraits.
Chuck Close: Prints, Process and Collaboration was organised by Terrie Sultan, Director of the Parrish Art Museum, Water Mill, NY, and was made possible,
in part by generous underwriting by the Neuberger Berman Foundation and grants from the Lannan Foundation and the Jon and Mary Shirley Foundation.
Venue
Dates
Duration (Days)
Total Visits
MCA
20 November 2014 – 15 March 2015
115
77,727
Primavera 2014: Young Australian Artists, installation view, Museum
of Contemporary Art Australia, 2014, Featured: Emily Hunt, Dread Life,
2014, glazed stoneware, Raku, porcelain, image courtesy the
artist and The Commercial Gallery, Sydney © the artist, photograph:
Lucy Parakhina
10
TAKING IT ALL AWAY: MCA COLLECTION
18 December 2014 – 22 February 2015, free entry
Curator Natasha Bullock
This exhibition of works drawn from the MCA questioned our relationship to time, how it might be spent and
measured and also speculated upon the continued importance of minimalism and conceptual art, the processes
of erasure and abstraction, and the social impact of art. Diverse in form and character, these works by Gordon
Bennett, Christian Capurro, Peter Cripps, Gail Hastings, Robert Hunter, Rose Nolan and Stuart Ringholt set the
dynamics of space and time against the complexities of modern existence.
The Museum of Contemporary Art Australia dedicated this exhibition to the memory of artists Gordon Bennett and Robert Hunter, who sadly passed away
during its development. The Museum of Contemporary Art Australia gratefully acknowledged the MCA Foundation whose support and generosity enabled
the acquisition of a number of works in this exhibition.
Venue
Dates
Duration (Days)
Total Visits
MCA
18 December 2014 to 22 February 2015
66
96,508
MCA COLLECTION
The MCA Collection consists of over 4,000 works accessioned since the constitution of the Museum of
Contemporary Art in 1989, including photography, sculpture, painting, barks, etchings, video works, and
installation. Collecting is a vital part of the MCA’s support for Australian artists and is crucial in terms of
endorsing the importance of preserving Australian art for future generations. In 2014, the MCA accessioned 64
works into the Collection. Acquisition highlights made possible through the MCA Foundation included Gan’yu –
Stars (2007) by Gulumbu Yunupingu, a major addition to the MCA Collection, expanding the MCA’s holdings of
Indigenous painting from Arnhem Land and joining the artist’s bark painting Garak, The Universe (2008). Another
major addition to the collection was Stuart Ringholt’s Untitled (Clock) (2014), a huge working clock approximately
3m high and 2m wide, finely constructed by the artist himself working with a professional horologist. Crucially,
and most disconcertedly, it tells the wrong time, although with great accuracy. Its minute hand takes only 45
seconds to complete a cycle, resulting in a 24-hour day compressed into 18 hours.
MCA Collection: Volume One
Dates
Duration (Days)
Total Visits
1 January – 31 December 2014
364
460,081
Peter Cripps, Another History for H.B. and R.L., 1991, installation view, Taking it
all away: MCA Collection, Museum of Contemporary Art 2014, masonite panels
on wooden frames, mirror finish panels, steel legs, Museum of Contemporary Art,
purchased 1993, image courtesy and © the artist, photograph Maja Baska
11
TOURING
THE WANDERING: MOVING IMAGES FROM THE MCA COLLECTION
Curator Isabel Hesketh
Travelling to four regional venues in 2014 this MCA Australia touring exhibition, providing access to video art
from the MCA Collection for regional audiences, was seen by almost 13,000 people.
'For many of our students it was the first time they have been to an art gallery … the exhibitions were fantastic! …
most students agreeing that they had never seen anything like it! ... We will remember this trip for a long time.'
School visit, Rockhampton Art Gallery
Venue
Dates
Duration (Days)
Total Visits
Rockhampton Art Gallery
7 February – 24 March 2014
46 days
1,508
Emerge Media Space
James Cook University
21 April – 12 May 2014
22 days
100
ANU Drill Hall Gallery
22 May – 29 June 2014
39 days
2,397
52 days
8,727
Wollongong City Art Gallery 11 July – 31 August 2014
STRING THEORY: FOCUS ON CONTEMPORARY AUSTRALIAN ART
Curator Glenn Barkley
Works from over 30 Aboriginal artists and artist groups from across the country that work in ways that
extend traditional forms of textile and craft-based practices were featured in this exhibition exploring the
open-ended expansion and connection of ideas, stories and techniques. First exhibited at the MCA in 2013, string
theory became the first MCA exhibition to tour to the Northern Territory.
'a particularly good opportunity to access work by indigenous collectives from remote areas of Australia helping
to contextualise our own collection … the staff provided with this project were wonderfully hands on and shared
knowledge and skills in a respectful way.'
Caboolture Regional Art Gallery
Tjanpi Desert Weavers’ project was supported by Gandel Philanthropy and the Nelson Meers Foundation. Noongar Doll Makers’ project was supported by
CAN WA. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Venue
Dates
Duration (Days)
Total Visits
Museum and Art Gallery of
the Northern Territory
Caboolture Regional Art
Gallery
8 March – 13 July 2014
128 days
90,970*
56 days
5,019
* Total gallery visitation for the period
12
REMAIN IN LIGHT: PHOTOGRAPHY FROM THE MCA COLLECTIONS
Curator Glenn Barkley
Touring to Ipswich, Dubbo and Maitland throughout 2014, this exhibition of over 70 artworks by Australian and
international artists collected by the University of Sydney and the Museum of Contemporary Art during a period
spanning more than 50 years provided a broad overview of photographic practice by artists, many who have
been recognised as contributing significantly to critical debates in art from the late 1960s to the present day,
exploring the influence of photographic theory and technique in contemporary art. The vibrant public program
included talks by exhibiting artists Julie Rrap and Elaine Campaner and workshops delivered by MCA artist
educators.
'Support and involvement of travelling exhibitions staff and curatorial staff was well above expectations.'
Ipswich Art Gallery
Remain in Light: Photography from the MCA Collections has been assisted by the Australian Government through the Australia Council, its arts
funding and advisory body.
Venue
Dates
Duration (Days)
Total Visits
Ipswich Art Gallery
29 March – 20 May 2014
53 days
10,886
Western Plains Cultural
Centre, Dubbo
9 August – 2 November 2014
65 days
23,981
Maitland Regional Gallery
28 November 2014 – 1 February 2015
65 days
11,795
Remain in Light: Photography from the MCA Collections, installation view, Maitland Regional Art Gallery, 2014, image courtesy and © the artists
13
PERFORMANCE SEASON
SONIC SOCIAL
12–29 June 2014
Curators Jeff Kan and Tulleah Pearce
This series of participatory performance works explored social relationships created through sound and music.
Featuring new works by Lauren Brincat and Bree van Reyk, Michaela Davies, and Super Critical Mass as well as
interactive performances by Song-Ming Ang and Malcolm Whittaker, Sonic Social mobilised the dynamic
interplay between humans, architecture and noise, breaking the social convention of silence in an art gallery and
exploring the group dynamics that are brought to life in bands, choirs or support groups.
Venue
Dates
Duration (Days)
Total Visits
MCA
12–29 June 2014
18
29,825
Julian Day and Luke Jaaniste, Super Critical Mass,
2014, performance documentation, Sonic Social,
Museum of Contemporary Art Australia, 2014.
Featured: Stephen Birch, Untitled, 2005, polyurethane,
synthetic polymer paint, fiberglass, acrylic hair and
eyes, Museum of Contemporary Art, gift of the Estate
of Stephen Birch, 2008, image courtesy and © the
artists, photograph: Heidrun Löhr
Michaela Davies, Duty, 2014, performance
documentation, Sonic Social, Museum of Contemporary
Art Australia, 2014. Featured: Robert Owen, Sunrise #3,
2005, Museum of Contemporary Art, purchased 2005,
image courtesy and © the artists, photograph:
Heidrun Löhr
14
BUILDING COMMISSIONS
BELLA COMMISSION
The 2014 Jackson Bella Room Artist Commission, Performance Art by Brown Council, transformed the space into
an immersive and interactive performance ‘funhouse’ designed to be both accessible and stimulating for young
people with specific needs. The work drew on a diverse range of sources, including the histories of performance
art, absurdist theatre and children’s television programs and incorporated a series of simple instructions
communicated through title cards and read aloud. Viewers were encouraged to follow these instructions,
becoming performers and collaborators in the production of the work and realising the creative possibilities of
simple body-based actions.
FOYER WALL COMMISSION
Untitled by Daniel Boyd was the third commission for the MCA’s Circular Quay Foyer Wall. The artist is a
Kudjla/Gangalu man from Far North Queensland known mainly for his paintings and, in recent years, a number of
video and installation works that depict fields of scattered light in a sea of darkness. Untitled was composed of
more than 18,000 circular mirrored disks. The mirrored surface reflected the activity of the MCA foyer
environment as well as the Circular Quay foreshore. The work was ever-changing, composed of the infinite
possibilities of its own surroundings and responding to fluctuations in light throughout the day.
SCULPTURE COMMISSION
Sangeeta Sandrasegar’s larger-than-life fibreglass sculpture of a mer-child, combining the body of a child with
the head of an ancient fish, faced out over the harbour to the ocean beyond. Titled to be carried away by the
current, to be dissolved in the Other, it was the second work commissioned for the Loti Smorgon Sculpture
Terrace. A fossil of this 419 million year old fish, Entelognathus primordialis, was recently discovered in China,
and is thought to be the earliest common ancestor of jawed vertebrates, including humans. Sandrasegar is
interested in our changing relationship to the sea brought about by technology and industrialisation, such as the
disappearance of marine life and our increasing detachment from sea-faring tales and mythology.
NATIONAL CENTRE FOR CREATIVE LEARNING
Benjamin Forster was commissioned to create a wall painting for the entrance to the National Centre for Creative
Learning, following on from a 6-month residency in 2013. The artwork, My first painting, was informed by the
artist’s relationship with the Museum and his reflections on the role of creative learning. The artist took the
simplest of visual ordering devices, the Cartesian grid or number plane, as his subject matter. Using a basic
computer algorithm of his own design, a series of grids were overlaid through an automated process. Forster was
interested in how simple underlying structures and processes can give the appearance of complexity, and how
that might relate to large organisations including art museums.
Daniel Boyd, Untitled (detail), 2014, installation view, Museum of Contemporary Art
Australia, 2014, mirrored disks, synthetic polymer paint on wall, commissioned by the
Museum of Contemporary Art, 2014, supported by Veolia Environmental Services,
image courtesy and © the artist, photograph: Jessica Maurer
15
C3WEST
C3West is a long-term program which creates situations for artists to work strategically with business and
non-arts government organisations, with a focus on Western Sydney. Since 2006 C3West has developed a
range of partnerships placing contemporary artists at the core of projects which give voice to local issues
and actively involve the business sector in new ways of working together. Two major C3West projects were
delivered in 2014, with a third commenced and a number of others in development.
Transforma was a seven-week residency by New Zealand-based artist Michel Tuffery from 22 February, cocommissioned by Campbelltown City Council and MCA. Located in Airds in South Western Sydney, Transforma
had four main components: the retrieval of cars dumped in the Woolwash area of the Upper Georges River, an
outdoor sculpture studio located in the car park of Airds Bradbury Central, ongoing workshops with young
people, and a series of public programs. This project aimed to raise local awareness of the links between river
health and behaviours such as arson, dumping and littering, and was the culmination of three extended
residencies by Tuffery in the area. A party was held to celebrate the launch of Tuffery’s sculpture, Buru
Transforma Kangaroo – a massive bust of a kangaroo made from abandoned cars salvaged from the Upper
Georges River. The evening featured results of Tuffery’s workshops with local youth, including live performances,
video projections, and woodblock prints. Transforma was awarded a Museums and Galleries NSW Imagine award.
From 17–25 May, Ivan and Heather Morison’s luminous sculpture rose over Bungarribee, signalling the
transformation of a vacant site in the Blacktown area of the Western Sydney Parklands to a new 200 hectare
park and community hub. Sleepers Awake was accompanied each night by a community performance festival
running from 5.30 to 7.30 pm, which featured a wide range of acts in music, dance, performance and film selected
from all over Western Sydney and the metropolitan Sydney basin.
On 8–9 November, the first of three artist camps took place on the historic site of the Blacktown Native
Institution, in partnership with Blacktown City Council and UrbanGrowth NSW. Over three camps, artists Darren
Bell, Karla Dickens, Steven Russell, Kristine Stewart, and Leanne Tobin will come together with the community,
local artists and various experts to develop a vision for the future, share and collect stories, and create new
artworks. The second and third camps will be held in 2015.
Heather and Ivan Morison, Sleepers Awake, 2014, installation view,
Bungarribee NSW, 17-25 May 2014. Produced by C3West on behalf of the
Museum of Contemporary Art Australia in collaboration with the Western
Sydney Parklands Trust, 2014, image courtesy and © the artists.
Michel Tuffery, Buru Transforma Kangaroo, 2014, installation view, Airds
High School, Airds NSW, 2014, Commissioned by C3West on behalf of the
Museum of Contemporary Art Australia in collaboration with
Campbelltown Arts Centre of behalf of Campbelltown City Council, image
courtesy and © the artist, photograph: Alex Davies
16
MCA PUBLICATIONS
Curator: Anne Loxley
Title: Lara Thoms:
Ultimate Vision Monuments to Us
Description: 63 pages,
soft cover, full colour,
uncoated paper.
Essay by Tony Chapman
and Anne Loxley,
interview by Georgie
Meagher.
Print Run: 500
RRP: $20.00
Curator: Glenn Barkley
Title: Remain in Light:
Photography from the
MCA Collection
soft cover, some colour
plates, uncoated paper.
Print Run: 750
RRP: $19.95
Curator: Rachel Kent
Title: Annette Messager:
Motion/Emotion
hard cover, full colour,
uncoated paper.
Essays by Rachel Kent
and Patricia Falguieres.
Print Run: 1,000
RRP: $64.95
Curator: Rachel Kent
Title: TABAIMO:
MEKURUMEKU
soft cover, full colour,
uncoated paper.
Essays by Rachel Kent
and Kazuko Aono.
Print Run: 750
RRP: $39.95
Curators: Anna Davis
and Megan Robson
Title: Martu Art from the
Far Western Desert
soft cover, full colour.
Essays by Anna Davis,
Megan Robson, Dr John
Carty and Ngalangka
Nola Taylor.
Print Run: 750
RRP: $29.95
Curators: Mikala Dwyer
Title: Prmavera 2014
soft cover, full colour.
Essays by Anna Davis,
Megan Robson, Dr John
Carty and Ngalangka
Nola Taylor.
Print Run: 500
RRP: $29.95
17
DIGITAL INTERPRETATION
2014 saw a number of digital initiatives across the Museum's offerings, supplementing the core activities of the
website, the MCA Insight app, social media platforms, creating resources for the online collection and delivering
learning programs for diverse audiences. A program of digital excursions and a series of ePublications were
delivered, along with documenting all MCA exhibitions and activities.
A new popular digital platform, MCA
Articulate, which prompts and encourages
reflections, contributions and creative
responses from visitors was developed in
collaboration with Telstra.
2014 also saw the first live stream of an MCA
event and digital learning resources for the
ABC’s learning portal Splash and The Song
Room, the Victorian learning portal aimed at
disadvantaged children, were both produced.
MCA Articulate, proudly brought to you by Telstra, invites visitors
to respond to provocative questions, art and events.
New ‘discover’ sections of the website for exhibitions were created, presenting richer and more engaging
exhibition pages including interviews with artists, extended information about the artworks and artists, and
related content such as videos of installation processes and user-posted content from social media platforms.
Digital exhibition resources developed included a high-resolution, interactive panorama of Annette Messager’s
Penetration, interviews with the 2014 Primavera and Martu artists, a message from Sydney International Art
Series artist Chuck Close and footage from artist studios.
A significant update to the MCA Collection online was undertaken, adding in new ways to feature, filter and
search artworks and artists. A new mobile version of the website optimised for smartphones was launched. The
MCA produced original videos, multimedia timelines and social media galleries to share the experience of the
C3West Transforma and Sleepers Awake projects and the Sonic Social performance season through online and
social media channels.
The MCA's Insight app, offering physical and virtual visitors enhanced exhibition content and experiences was
launched in Japanese and French, with translated content for the Tabaimo: Mekurumuku and Annette Messager:
Motion/Emotion exhibitions.
18
Yoko Yoko Ono, Play it by Trust, 2013, installation view, War Is Over! (if you
want it): Yoko Ono, Museum of Contemporary Art Australia 2013-14,
wooden chess set, table, chairs, image courtesy and © the artist,
photograph: Andy Stevens:
19
2014 GIFTS TO THE MCA COLLECTION
Helen Eager
OBG (ME5), 2009, oil on linen
Pedro Wonaeamirri
Yirrinkrupwoja (Body Painting #1), 2004
Lithograph in 3 colours, printed from 3 aluminium plates
Pedro Wonaeamirri
Yirrinkrupwoja (Body Painting #2), 2004
Lithograph in 3 colours, printed from 3 aluminium plates
Imants Tillers
T, 1997, etching and acquatint
H, 1997, etching and acquatint
O, 1997, etching and acquatint
U, 1997, etching and acquatint
I, 1997, etching and acquatint
AND, 1997, etching and acquatint
Very Loud Barking, 2013, Screenprint
Uneven Sides, 2013, Screenprint
Our Side of the Fence, 2013, Screenprint
Off to the Fight, 2013, Screenprint
Mulga Dogs on the Run, 2013, Screenprint
Let's Go, 2013, Screenprint
Lake Nash Dogs, 2013, Screenprint
Home at Mulga Camp, 2013, Screenprint
Four Fast Dogs, 2013, Screenprint
Barking at Lake Nash, 2013, Screenprint
Onlookers, 2013, Screenprint
Strobe Series: No. 17, 2009, oil on canvas
Dion Beasley
Marion Borgelt
Tony Albert
Ninney Murray
Red Hand Prints,
Franck Gohier
Red Hand Prints,
Chayni Henry
Red Hand Prints,
Franck Gohier, Chayni
Henry
Guan Wei
Yoko Ono
Denise Green
Optimism #1, 2008, type c photograph
Jawun basket, 2008, Lawyer cane
Bunjiboo Shoes Launch, 2013, screen print, letter press
South of the "Berrimah Line", 2013
screen print, letter press
Red Hand, 2013, screen print, letter press
The Great Brain Robbery!, 2013,
screen print, letter press
Schrodindger's Cat, 2013, screen print, letter press
Salon Des Refuses, 2013, screen print, letter press
Barra Bouillon, 2013, screen print, letter press
Dugong Bouillabaisse, 2013, screen print, letter press
Chunky Magpie Goose, 2013, screen print, letter press
Mud Crab Bisque, 2013, screen print, letter press
Croc Du Jour, 2013, screen print
Roo Tail Soup, 2013, screen print
Winter Wonderland, 2013, screen print
Coprolite National Park, 2013, screen print
Roo Vs Rex, 2013, screen print
Looking for Sea Shells, 2013, screen print
Fly to Darwin, 2013, screen print
131008, 2013, screen print
Cock-Fight, 2013, screen print
Budju!, 2013, screen print
The Neo, 2013, screen print
Conoco Phillips, 2013, screen print
Untitled, 2013, screen print
[Foundation], 2013, screen print, letter press
Museum of Contemporary Art, donated through the Australian
Government's Cultural Gifts Program by John Eager, 2014
Government's Cultural Gifts Program by Gordon Darling AC CMG
and Marilyn Darling AC, 2014
Government's Cultural Gifts Program by Gordon Darling AC CMG
and Marilyn Darling AC, 2014
Government’s Cultural Gifts Program by Christopher Hodges and
Helen Eager, 2014
Government’s Cultural Gifts Program by Franck Gohier, 2014
Government’s Cultural Gifts Program by the artist, 2014
Government’s Cultural Gifts Program by Tony Albert, 2014
Museum of Contemporary Art, gift of Red Hand Prints, 2014
Out of the studio, paintings from 2006 to the present
2013, screen print
preparatory drawings for 'The Journey to Australia'
2012
watercolour, ink, paper
Play it by Trust, 2013, wooden chess set, table, chairs
Elle, 2011, acrylic on wall
Museum of Contemporary Art, gift of the artist, 2014
20
2014 PURCHASES FOR THE MCA COLLECTION
Martu Artists
Kumpaya Girgirba, Karnu Nancy Taylor, Ngalangka Nola Taylor, Ngamaru Bidu, Wokka Taylor, Muuki
Taylor, Jakayu Biljabu, Bowya Patricia Butt, Noelene Girgirba
Kulyu, 2014
synthetic polymer paint on linen
Museum of Contemporary Art, purchased with funds provided by an anonymous donor, 2014
Tony Albert
Optimism #2, 2008
type c photograph
Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2014
Tony Albert
Optimism #3, 2008
type c photograph
Tony Albert
Optimism #4, 2008
type c photograph
Tony Albert
Optimism #6, 2008
type c photograph
Tony Albert
Optimism #7, 2008
type c photograph
Gulumbu Yunupingu
Gan'yu – stars, 2007
earth pigments on hollow log
Gordon Bennett
Abstraction (City dweller), 2013
Acrylic on linen
Stuart Ringholt
Untitled (Clock), 2014
clockwork, tubular bells, world globe, steel, glass, electronics
Jemima Wyman
Combat Drag, 2008
single-channel digital video, colour, sound 8min 4sec
Sandra Selig
be some other material, 2011
single-channel split screen digital video, colour, sound, 9min 19s
Dale Frank
Every time I glance it's just not me, 2014
varnish, lighter fluid on anodised plexiglass
Kerrie Poliness
OMG, 2014
wall drawing instruction book
21
Audience Engagement
AUDIENCE ENGAGEMENT
The MCA’s world-class exhibition, learning and outreach programs aim to inspire Australians from all
backgrounds to engage with contemporary art and artists through the National Centre for Creative Learning
(NCCL). Each year the MCA connects with children, adults and people with special needs through a wide
range of activities in and beyond the galleries. Dynamic programs are conceived to provide rich and
engaging experiences with original contemporary artwork and encourage risk-taking, experimentation, and
new ways of thinking: essential ingredients for creativity.
The MCA’s innovative, multi-channel
communications tools share the organisation’s
activities and aspirations with visitors and the
wider local, national and international
communities, showcasing the MCA, Sydney
and Australia as a vibrant cultural hub.
In 2014, over 80,000 people participated in
MCA creative learning activities.
22
Audience Engagement
PUBLIC ENGAGEMENT
The MCA’s public engagement programs engage and empower audiences of all ages through diverse, accessible,
challenging and transformative life-long learning experiences. Over 50,000 participants have engaged in
ARTBAR, Public Programs, ATSI, Kids and Families and Youth programs in 2014, with offerings as diverse as:
⎯ the regularly sold out ARTBAR driven by Audi – taking over all levels of the building after dark with
immersive experiences of performance, music and video, under the direction of a guest artist curator
(over 7,000 attendees across 11 events in 2014!) for audiences over 18;
⎯ Art Play, the weekly, drop-in program specially created for under 5s to experience art in the multisensory Bella Room (an artist-commissioned space) and regularly attracting over 120 people every week;
⎯ the annual Zine Fair attended by over 3,000 people;
⎯ Junior Art School, the hands-on creative school holiday program for primary school age children; which
moved to a well-received full day format in 2014
⎯ exhibition and artist-related film screenings in the Veolia Lecture Theatre, including The Sundance
Institute Indigenous Film Retrospective held during the Corroboree Festival 2014;
⎯ regular Auslan and Audio-described tours for hearing-and vision-impaired visitors;
⎯ the brand new program, Super Sounds, added to the rotation of Art Safari programs which introduces
children to a whole new way of experiencing the MCA Collection;
⎯ the weekly Lights on Later program on Thursday nights with talks, drop-in workshops and tours;
⎯ takeovers of the Museum at Genext, supported by the Balnaves Foundation, where teenagers meet,
explore and create with established artists and like-minded young people. 2014 saw the introduction of a
new ARTcart full of fun crafts and recycled material and it was also the first time that Genext went
offsite to make the most out of C3West’s project Sleepers Awake;
⎯ artist talks and symposiums including the sold-out Annette Messager event; and
⎯ exhibition-related family activity spaces in the foyer of the National Centre for Creative Learning.
Program Type
No of Programs
No of participants
Adult Public Programs
259
35,836
Kids & Families
194
14,354
Youth
7
2,387
Image, previous page: Families enjoying a gallery visit. Featured: Jim Lambie, Zobop, installation view, 19th Biennale of Sydney: You Imagine What You
Desire, Museum of Contemporary Art Australia, 2014, vinyl tape, dimensions variable, image courtesy and © the artist, photograph: Maja Baska
23
Audience Engagement
24
Audience Engagement
STUDENT & TEACHER ENGAGEMENT
MCA Learning programs connect students and teachers to contemporary art. A range of creative learning
programs explore exhibitions, artists’ practice and the art world both at the Museum and remotely through
digital excursions. Continued support from Education Partner Deutsche Bank enabled more students than ever
before to enjoy learn creatively through an MCA program.
2014 HIGHLIGHTS
— 37% increase in overall Education attendance.
⎯ Trial of the popular primary program Art Write Now: Creative Writing and Contemporary Art targeting
the development of literacy skills through engagement with artworks for secondary students.
⎯ Hosted the annual AIS Visual Arts Conference in July, with Lindy Lee and Nell as keynote speakers.
⎯ Introduced Unpacking Unseen Images, the sold-out HSC lecture program for senior students.
⎯ Held the first Bella Momentum program, a week-long intensive workshop program held in partnership
with The Smith Family’s Learning for Life program, bringing 16 disadvantaged young people to the MCA
to work with Artist Educators. The program was featured on the ABC news.
Program Type
Pre-school
No of participants
709
Primary
4,975
Secondary
15,376
Tertiary
3,183
ESL
1,678
Special Interest
1,636
Bella
1,708
Total Education
29,265
Gallery exploration, Merrylands East Public School. Featured: David
Claerbout, The Quiet Shore, 2011, installation view, 19th Biennale of Sydney:
You Imagine What You Desire, Museum of Contemporary Art Australia, 2014,
single-channel video projection, 36:32 mins (looped), black and white, silent,
image courtesy and © the artist, photograph: Adam Hollingworth
25
Audience Engagement
VISITORS WITH SPECIFIC NEEDS
The MCA offers a variety of programs and services to ensure the accessibility of the Museum and its
collection. The Bella Program, a free art-making workshop for children and young people with specific
needs, includes gallery exploration and discussion, visiting the interactive Bella Room, and hands-on art
making activities. Access tours for hearing-impaired and vision-impaired visitors also continue to be held.
The Bella Plus Connect program, an inter-service Bella program, provides important opportunities for
participants to meet new people from outside their service, within the supportive environment of the Bella
Program. In 2014 the Bella team worked in partnership with NSW Health to extend opportunities to people with
experience of mental health.
VISITOR EXPERIENCE
Program Type
No of Programs
No of participants
Guided Tours
840
5,695
Spotlight Talks
277
2,743
Volunteer-guided tours and talks by MCA Hosts continued to enhance the visitor experience throughout
2014. 36 dedicated volunteers, who generously give their time and expertise, offered regular free guided
tours for nearly 5,700 attendees in 2014. The weekday Spotlight Talks by MCA Hosts provide an
opportunity for deepened engagement with visitors. Between 85-95% of all MCA Hosts participate in the
Spotlight Talks, and over 2,700 visitors attended these talks.
Blacktown West Public School students visit Jackson Bella Room in the
National Centre for Creative Learning. Featured: Brown Council, Performance
Art, 2014, installation view, Museum of Contemporary Art Australia, 2014, 3channel video, sound, synthetic polymer paint on wall, carpet, Commissioned
by the Museum of Contemporary Art Australia for the Jackson Bella Room,
2014, image courtesy and © the artists, photograph: James Brown
Artist talk, Martu Art from the Far Western Desert, installation view,
Museum of Contemporary Art Australia, 2014, image courtesy and ©
the artists and Martumili Artists, photograph: James Brown
26
Audience Engagement
COMMUNICATIONS
On 6 May 2014 the Museum of Contemporary Art Australia (MCA) welcomed its two millionth visitor
in just over two years since the newly developed and expanded MCA Australia opened its doors to the public on
29 March 2012. To celebrate this event, artist Liam Benson created a performance entitled ‘Me and You’.
Visitation to the MCA throughout 2014 continued to grow, with an average of over 75,000 visitors each month.
January saw the greatest number of people visit the MCA, with over 100,000 people coming through the doors.
Total visitation at Circular Quay for 2014 was 914,713.
Digital audiences and engagement continued to grow throughout the year, with a 30% increase in Twitter
followers, a 46% increase in MCA eNews subscribers, a 60% increase in Facebook fans and a 16% increase in
YouTube views. There were 602,536 unique users of the MCA website, and a further 99,348 unique users of the
mobile website.
In November the MCA hosted the Museum’s first ever social media event which saw Instagram and Twitter
‘influencers’ attend an exclusive pre-opening event for Chuck Close: Prints, Process and Collaboration, kickstarting positive word of mouth. An exclusive Instagram campaign saw a life size reproduction of Chuck Close's
famous Bob go on holidays to some of Sydney's iconic and most instagrammable locations.
Throughout the year the MCA Increased advertising on digital platforms to continue to be relevant to target
audiences and shared innovative and inspiring content through social media channels. Digital content is receiving
excellent traction and sparking conversations.
A new series of print advertisements (SMH Spectrum), promotional collateral and digital advertisements were
introduced promoting seasonal exhibition and programs. The strategy is to promote the Museum as a destination
to increase visitation, deepen engagement and improve consumer brand recognition.
MCA Director Elizabeth Ann Macgregor OBE greets the MCA's two
millionth visitor since reopening, 6 May 2014, image courtesy and ©
Museum of Contemporary Art Australia, photograph: Alex Torcutti
A reproduction of Chuck Close, Bob, 1969-70, National Gallery of Australia,
Canberra, purchased 1975 © Chuck Close, on Bondi Beach, image © MCA
27
Audience Engagement
DEVELOPMENT AND ENTERPRISES
28
Development and Enterprises
PHILANTHROPY
⎯ Philanthropy at the Museum continues to be a major contributor to the MCA’s ability to deliver groundbreaking exhibitions and programmes.
⎯ The MCA Foundation has grown strongly and contributed to major acquisitions for the Collection,
including Stuart Ringholt’s Untitled (The Clock), 2014.
⎯ The MCA Ambassador Program goes from strength to strength, with over 400 Members enjoying special
access to the Museum, its programmes and curators.
⎯ The MCA Young Ambassador Programme supported by Ray White has grown steadily to over
100 Members.
⎯ The MCA Members’ scheme is growing with nearly 1,200 at year end; an attractive Gift Membership is
now available for sale on-line and in-store.
⎯ The 2014 annual appeal was the most successful to date, raising over $33,000 for conservation of works
from the MCA Collection.
⎯ Donations box income has risen ten-fold in 2014 following new initiatives from Front of House.
Previous page: Chuck Close, Self-Portrait (colour), 2007,
installation view, Chuck Close: Prints, Process and
Collaboration, Museum of Contemporary Art Australia, 2014,
jacquard tapestry, image courtesy the artist and Magnolia
Editions, Oakland, © the artist
Left: MCA Ambassadors enjoy a tour of Chuck Close: Prints,
Process and Collaboration with Curator, Glenn Barkley
MCA Young Ambassadors get into the fundraising spirit
at MCA Social
29
VENUES
The MCA’s venues business is a major contributor to the financial success of the organisation, with over 500
events hosted for a wide range of international and domestic organisations. Highlights during 2014 have included
Hermès Australia's Festival des Métiers, HBO’s Games of Thrones exhibition, and the Vivid Festival Ideas
Exchange. The MCA’s venues host weddings, birthday parties, conferences, product launches and conventions,
over breakfasts, lunches and dinners. The venues team works in close collaboration with food and beverage
partners Fresh Catering and Culinary Edge, who also run the successful MCA Cafe and Graze MCA Restaurant.
The Sydney Harbour Bridge provides a beautiful backdrop to stylish events in the MCA's Rooftop venues.
RETAIL
The MCA Store introduced
exhibition-specific merchandise
during the year, including
catalogues, image cards,
posters, towels and bags.
The Store focuses on
Australian-designed and
produced lines representing the
organisation’s brand, vision and
content, the MCA’s site and
place, and the interests of
audiences and visitors.
30
PARTNERSHIPS
⎯ Welcomed five new partners to the MCA: Citi (Presenting Partner of Chuck Close); Hugo Boss
(Supporting Partner of Primavera); Aesop, Decorative Events and Onitsuka Tiger (Supporting Sponsors).
⎯ Fostered strong relationships with current partners, emphasising the importance of partners working not
only with the MCA but also with each other.
⎯ Introduced Citi as Presenting Partner of the major exhibition of Chuck Close. It is the first time Citi has
partnered within the arts and cultural space in Australia. The MCA Cafe and GRAZE MCA restaurant
were partnered with the Citibank Dining Program, joining over 200 other Sydney dining hubs.
⎯ Launched Articulate in collaboration with long-term partner Telstra. This app device enables visitors to
respond digitally to artwork and gallery experiences. By combining MCA’s vision to open dialogue with
visitors and Telstra’s technological ability, this project has attained on-site traction and media attention
for being a first within the industry in Australia.
⎯ Celebrated 2nd birthday of ARTBAR with AUDI (May 2014): a milestone for the MCA. Through this
partnership the MCA has been able to execute an exciting ARTBAR program with artist curators
such as Ross Manning, Pip & Pop, and Nick Dorey, with sell-out crowds attending on the final Friday of
each month.
May 2014, MCA ARTBAR, driven by AUDI turns two
31
32
MUSEUM OF CONTEMPORARY ART LIMITED
(ABN 15 003 765 517)
FINANCIAL REPORT FOR THE YEAR ENDED
31 DECEMBER 2014
CONTENTS
34 Directors' report
41 Auditor's independence declaration
42 Auditor's Report
42
Statement of
comprehensive
income
43
Statement of
financial position
43
Statement of
changes in equity
44
Statement of cash flows
45
Notes to the financial
statements
57 Directors' declaration
6
58 Independent auditor's report
The financial statements were authorised for issue by the directors on 21 April
2015. The directors have the power to amend and reissue the financial
statements.
The financial statements are presented in Australian currency.
33
DIRECTORS' REPORT
Financial Report
The Directors of the Museum of Contemporary Art Limited (MCA or the Company) present their report for the
year ended 31 December 2014.
DIRECTORS
The names and details of the Company's Directors in office during the financial year and until the date of this
report are as follows. Directors were in office for this entire period unless otherwise stated.
Simon Mordant AM (Chairman)
Doug Dean AM
Geoff Dixon
Ari Droga
Sarah Morgan
Lachlan Murdoch
Susan Norrie
Katie Page (Resigned: 30 June 2014)
Lisa Paulsen
Hetti Perkins
Scott Perkins
Ivan Wheen (Appointed: 6 May 2014)
Company Secretary: Anh Thi Do
34
Financial Report
MISSION STATEMENT
The MCA’s mission is to take a leadership role in shaping an Australia that values contemporary art and artists.
We exist because contemporary art matters: it stimulates the imagination, engages our aesthetic senses and has
the power to transform lives. Contemporary artists address complex ideas, they challenge us to think and see the
world differently to inform our outlook on life and society.
VALUES
The MCA embodies a number of key values:
— Artists are central to all our activities
— Making challenging and complex work accessible
— Fostering creativity and critical thinking
— An entrepreneurial outlook
— Collaboration is key
— Sustainable and resilient
SHORT-TERM AND LONG-TERM OBJECTIVES
Connecting a broad and diverse public with the work of living artists, the Museum of Contemporary Art Australia
pursues curatorial excellence and innovation in audience engagement.
The MCA has five key goals that underpin all its activities:
— Excellence in organisation wide programming
— Deepening engagement and extending reach
— Influencing the Influencers
— Unlocking organisational potential
— Integrating Aboriginal and Torres Strait Islander perspectives
STRATEGIES
The Company has adopted a number of strategies to achieve the above objectives:
— Deliver exceptional programs through collaboration; deepen relationships with artists; develop a
significant collection of contemporary Australian Art; place Australian artists in an international context
and expand the museum's digital architecture.
— Establish the National Centre Creative Learning as a pioneering centre that provides enriching creative
learning programs; create a new model of digital engagement including partnerships with regional galleries;
create a clear pathway of engagement for stakeholders; build local, national and international partnerships;
build an impactful brand and create innovative marketing campaigns across all platforms.
— Implement a clear communications strategy based on solid research; identify opportunities and leverage
relationships in order to position the MCA as the authoritative voice on issues around contemporary art
and artists.
35
Financial Report
— Underpin all activities with a robust financial plan and highly efficient & effective business practices;
implement the ICT strategy; develop an appropriate sustainability plan and secure a new storage facility
for the long term care and conservation of the MCA collection.
— Organise major exhibitions of Aboriginal and Torres Strait Islander artists & acquire Aboriginal and
Torres Strait Islander work; undertake targeted creative learning projects; encourage Aboriginal and
Torres Strait Islander audience visitation; develop distance learning for remote schools; create
employment opportunities and demonstrate active participation on Board and advisory committees.
PRINCIPAL ACTIVITIES
The principal activities of the Company undertaken during the year in pursuit of the short and long term
objectives were:
— Delivery of 7 contemporary art exhibitions and 4 touring exhibitions, with 914,713 on-site exhibition
visitors, 602,536 unique users of the MCA website, and a further 99,348 unique users of the mobile
website.
— 9 new projects realised comprising 4 building commissions, 3 C3 West projects and 2 new work
commissions within exhibition programs.
— 81,802 participants in education programs and activities including 29,225 students in formal schools
programs.
— 75% of total revenue is earned by the MCA from outside government sources to support the Company's
objectives.
There were no changes in the principal activities of the Company throughout the year.
KEY PERFORMANCE INDICATORS
Performance indicators for the Company are:
— Numbers and mix of exhibitions and displays, including consistent representation of Australian and
Aboriginal and Torres Strait Islander content within the program
— Strong collection and artist employment practices, supported by digital infrastructure
— Numbers and mix of creative learning and public programs, including those embracing new technologies
and their success in connecting more people with artists
— Numbers and mix of touring and innovative external projects and their success in reaching
new audiences
— Strong visitor attendance figures and positive feedback of the visitor experience onsite,
offsite and online
— Sustainable financial results and the continuing exploration of new income streams and deepening
engagement with stakeholders
— A strong team and Board, with clear succession arrangements in place, positive satisfaction rates and
low turnover
— Highly efficient governance & business practices, including the ongoing identification and management
of risk
36
Financial Report
DIRECTORS' QUALIFICATIONS AND EXPERIENCE
DIRECTOR
QUALIFICATIONS
EXPERIENCE
Simon Mordant AM
Fellow, Institute of Chartered
Accountants
Philanthropist, Corporate adviser
and member of numerous Boards
and Councils locally and
internationally
MA History of Art (Hons), Post Dip
Mus and Gal Studies
Director, Museum of
Contemporary Art
Doug Dean AM
Bachelor of Commerce, FCPA, FAIM
Chairman, Veolia Environment
Company Director and Chairman
of the Garvan Research
Foundation
Geoff Dixon
Ari Droga
BA (Syd Uni), LLB (Syd Uni), LLM
(Cambridge Uni)
Head of Australasia, Global
Infrastructure Partners
Sarah Morgan
Bachelor of Engineering (Hons),
MBA, Post Dip Cont Art
Company Director
Lachlan Murdoch
Bachelor of Arts, Philosophy
Princeton University
Non executive Co Chair of News
Corporation
Susan Norrie
PhD Havoc, UNSW APA, UNSW
Adjunct Professor
Artist: represented Australia at
the 52nd Venice Biennale,2007
Katie Page
MFA (Hons) CoFA UNSW; Grad Dip
SCA, Sydney Uni
CEO, Harvey Norman
Lisa Paulsen
Bachelor of Arts, UNSW
Art collector
Hetti Perkins
Bachelor of Arts UNSW
Resident Curator, Bangarra
Dance Theatre
Scott Perkins
Bachelor of Commerce and a
Bachelor of Laws (Hons)
Company Director and Corporate
Advisor
Ivan Wheen
Bachelor of Commerce (Hons),
UNSW
Company Director
37
Financial Report
DIRECTORS' RESPONSIBILITIES
DIRECTOR
RESPONSIBILITIES
Simon Mordant AM
Chairman of the Board, Nominations Committee
Member of the Board, Nominations Committee,
Finance Committee
Doug Dean AM
Member of the Board, Chairman of the Finance
Committee
Geoff Dixon
Member of the Board, Nominations Committee
Ari Droga
Chair of the MCA Foundation Council
Sarah Morgan
Member of the Board, Finance Committee
Lachlan Murdoch
Member of the Board
Susan Norrie
Member of the Board, Chair of the Artist Advisory
Panel
Katie Page
Member of the Board
Lisa Paulsen
Chair of the Director's Circle, Ambassador
recruitment
Hetti Perkins
Member of the Board, Chair of the Indigenous
Advisory Panel
Scott Perkins
Member of the Board, Finance Committee
Ivan Wheen
Member of the Board, MCA Foundation Council
38
Financial Report
MEETINGS OF DIRECTORS
During 2014, five meetings of directors were held. Attendances by each director were as follows:
DIRECTORS' MEETINGS
DIRECTOR
NUMBER ELIGIBLE TO ATTEND
NUMBER ATTENDED
Simon Mordant AM
5
5
5
5
Doug Dean AM
5
4
Geoff Dixon
5
3
Ari Droga
5
5
Sarah Morgan
5
5
Lachlan Murdoch
5
1
Susan Norrie
5
4
Katie Page
2
2
Lisa Paulsen
5
4
Hetti Perkins
5
3
Scott Perkins
5
5
Ivan Wheen
3
3
During 2014, six meetings of the Finance Committee were held. Attendances by each director
were as follows:
FINANCE COMMITTEE MEETINGS
DIRECTOR
NUMBER ELIGIBLE TO ATTEND
NUMBER ATTENDED
Doug Dean AM
6
4
6
6
Sarah Morgan
6
6
Scott Perkins
6
6
39
Financial Report
INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS
During the financial year, the Company paid a premium in respect of a contract insuring the directors of the
Company against a liability incurred as such a director, secretary or executive officer to the extent permitted by
the Corporations Act 2001. The contract of insurance prohibits disclosure of the nature of the liability and the
amount of the premium. The Company has not otherwise, during or since the financial year, indemnified or agreed
to indemnify an officer or auditor of the Company against a liability incurred as such an officer or auditor.
OPERATING AND FINANCIAL REVIEW
The operations of the Company during the financial year were the exhibition, collection and interpretation of
contemporary art.
The Operating Result for the year ended 31 December 2014 is a surplus of $553,653
[2013: surplus of $538,065].
The Comprehensive Result for the year ended 31 December 2014 is a deficit of $327,232
[2013: surplus of $541,423].
MEMBERS' GUARANTEE
The Company is a company limited by guarantee and as such does not have authorised or issued capital.
Every member of the company undertakes to contribute to the property of the company, in the event
of the Company being wound up during the time that the member is a member, or within one year of the
cessation of membership, for payment of the debts and liabilities of the Company contracted before the time at
which the member ceased to be a member, and of the costs, charges and expenses of winding up the same, and
for the adjustment of the rights of the contributors amongst themselves, such amounts as may be required not
exceeding twenty dollars ($20.00). There were 13 members in 2014 [2013: 12 members].
AUDITOR INDEPENDENCE
The directors received an independence declaration from the auditor. A copy has been included with this Annual
Report.
This directors' report is signed in accordance with a resolution of the Board of Directors.
Simon Mordant
Chair
Sydney, 21 April 2015
40
AUDITOR'S INDEPENDENCE DECLARATION
Financial Report
41
Financial Report
AUDITOR’S REPORT
STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOME
For the year ended 31 December 2014
Note
2014 ($)
2013 ($)
REVENUE FROM OPERATING ACTIVITIES
Exhibition and Creative Learning income
1,194,699
1,921,535
Corporate and Individual Support
3,594,464
4,356,522
4,743,640
4,661,080
8,870,549
8,477,543
223,145
198,773
18,626,497
19,615,453
(311,459)
(316,574)
Employee benefits expense
(7,376,331)
(7,139,958)
Exhibition, creative learning and commission project costs
(3,996,831)
(4,943,164)
Repairs & maintenance, insurance, security and utilities
(3,144,272)
(3,427,581)
Raw materials for the shop
(1,148,674)
(1,151,065)
Other expenses
(2,095,277)
(2,099,046)
(18,072,844)
(19,077,388)
553,653
538,065
Gifts of works of art, acquisition and foundation fund
1,055,361
984,854
Capital building fund
1,166,268
1,152,092
TOTAL REVENUE FROM OUTSIDE OPERATING ACTIVITIES
2,221,629
2,136,946
(2,126,643)
(2,116,792)
(936,361)
-
(39,510)
(16,796)
(3,102,514)
(2,133,588)
NET SURPLUS/(DEFICIT) FROM OUTSIDE OPERATING ACTIVITIES
(880,885)
3,358
TOTAL NET SURPLUS/(DEFICIT) BEFORE INCOME TAX
(327,232)
541,423
-
-
-
-
(327,232)
541,423
-
-
(327,232)
541,423
Grant income
15
Commercial income
Interest received
TOTAL REVENUE FROM OPERATING ACTIVITIES
EXPENSES FROM OPERATING ACTIVITIES
Depreciation & amortisation expenses
TOTAL EXPENSES FROM OPERATING ACTIVITIES
NET SURPLUS/(DEFICIT) FROM OPERATING ACTIVITIES
REVENUE FROM OUTSIDE OPERATING ACTIVITIES
EXPENSES FROM OUTSIDE OPERATING ACTIVITIES
Building depreciation & amortisation
Write off fixed assets
Foundation costs
TOTAL EXPENSES FROM OUTSIDE OPERATING ACTIVITIES
Income tax from operating activities
Income tax from outside operating activities
SURPLUS/(DEFICIT) FOR THE YEAR AFTER INCOME TAX
Other comprehensive income
TOTAL COMPREHENSIVE INCOME
2
The above statement of comprehensive income should be read in conjunction with the accompanying notes.
42
Financial Report
STATEMENT OF FINANCIAL POSITION
As at 31 December 2014
Notes
2014 ($)
2013 ($)
CURRENT ASSETS
Cash and cash equivalents
1(M)
5,958,161
5,170,390
Trade and other receivables
3
702,077
2,153,662
Inventories
4
146,155
349,727
Prepayments
5
5,423
71,989
6,811,816
7,745,768
TOTAL CURRENT ASSETS
NON-CURRENT ASSETS
Property, plant and equipment
6
52,230,242
54,316,116
Works of Art
6
16,476,252
15,472,680
TOTAL NON-CURRENT ASSETS
68,706,494
69,788,796
TOTAL ASSETS
75,518,310
77,534,564
CURRENT LIABILITIES
Trade and other payables
7
1,834,930
2,301,642
Provisions
8
315,964
273,146
Income in advance
9
2,033,035
3,240,329
4,183,929
5,815,117
192,234
250,068
192,234
250,068
71,142,147
71,469,379
71,142,147
71,469,379
71,142,147
71,469,379
TOTAL CURRENT LIABILITIES
NON-CURRENT LIABILITIES
Provision for long service leave
10
TOTAL NON-CURRENT LIABILITIES
NET ASSETS
MEMBERS' FUNDS
Retained Surplus
11
TOTAL MEMBERS' FUNDS
The above statement of financial position should be read in conjunction with the accompanying notes.
STATEMENT OF CHANGES IN EQUITY
FOR THE YEAR ENDED 31 DECEMBER 2014
Notes
TOTAL EQUITY AT THE BEGINNING OF THE FINANCIAL YEAR
Total comprehensive income for the year
TOTAL EQUITY AT THE END OF THE FINANCIAL YEAR
11
2014 ($)
2013 ($)
71,469,379
70,927,956
(327,232)
71,142,147
541,423
71,469,379
The above statement of changes in equity should be read in conjunction with the accompanying notes.
43
Financial Report
STATEMENT OF CASH FLOWS
Notes
2014 ($)
2013 ($)
CASH FLOWS FROM OPERATING ACTIVITIES
Funding and operational receipts (inclusive of goods and services tax)
21,315,231
22,405,658
(19,548,542)
(20,905,935)
186,485
149,294
1,953,174
1,649,017
1,166,268
1,152,092
(39,510)
-
(2,292,161)
(1,563,246)
-
-
(1,165,403)
(411,154)
787,771
1,237,863
Cash & cash equivalents at the beginning of the year
5,170,390
3,932,527
CASH & CASH EQUIVALENTS AT THE END OF THE YEAR
5,958,161
5,170,390
Payments to suppliers and employees (inclusive of goods and
services tax)
Interest received
NET CASH INFLOW/(OUTFLOW) FROM OPERATING ACTIVITIES
CASH FLOWS FROM INVESTING ACTIVITIES
Capital building funding receipts in relation to the MCA redevelopment
Payments for Foundation costs
Payments for property, plant & equipment
Proceeds from sale of fixed assets
NET CASH OUTFLOW FROM INVESTING ACTIVITIES
NET DECREASE IN CASH & CASH EQUIVALENTS
The above statement of cash flows should be read in conjunction with the accompanying notes.
44
Financial Report
NOTES TO THE FINANCIAL STATEMENTS
1
SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES
The principal accounting policies adopted in the preparation of these financial statements are set out below.
These policies have been consistently applied to all the years presented, unless otherwise stated.
(A) BASIS OF PREPARATION
These general purpose financial statements have been prepared in accordance with Australian Accounting
Standards- Reduced Disclosure Requirements, other authoritative pronouncements of the Australian Accounting
Standards Board and the Corporations Act 2001. Museum of Contemporary Art Limited is a not-for-profit
entity for the purpose of preparing the financial statements.
Compliance with Australian Accounting Standards- Reduced Disclosure Requirements
The financial statements of the Company comply with Australian Accounting Standards- Reduced Disclosure
Requirements as issued by the Australian Accounting Standards Board (AASB).
New and amended standards adopted by the Company
None of the new standards and amendments to standards that are mandatory for the first time for the financial
year beginning 1 January 2014 affected any of the amounts recognised in the current period or any prior period
and are not likely to affect future periods.
Early adoption of standards
The Company has not elected to apply any pronouncements before their operative date in the annual reporting
period beginning 1 January 2014.
Historical cost convention
These financial statements have been prepared under the historical cost convention.
Critical accounting estimates
The preparation of financial statements requires the use of certain critical accounting estimates. It also requires
management to exercise its judgement in the process of applying the Company's accounting policies.
The directors estimate that the residual value of works of art is at least equal to the cost. As a result, while works of
art are carried at cost, they are not depreciated. The residual value and recoverable amount of work of arts is based
on the directors' view of the appreciating value of the MCA collection. The collection is revalued by a qualified
valuer at periodic intervals subject to prevailing market conditions.
Gifts of works of art are recognised as income at their fair value at the time of the gift. Fair value is determined
based on the average of two independent valuations from external approved valuers.
45
Financial Report
(B) FOREIGN CURRENCY TRANSLATION
(i) Functional and presentation currency
Items included in the financial statements are measured using the currency of the primary economic functional
environment in which the Company operates ("the currency"). The financial statements are presented in
Australian dollars, which is the Company's functional and presentation currency.
(ii) Transactions and balances
Foreign currency transactions are translated into the functional currency using the exchange rates prevailing at
the dates of the transactions. Foreign exchange gains and losses resulting from the settlement of such
transactions and from the translation at year-end exchange rates of monetary assets and liabilities denominated
in foreign currencies are recognised in the profit and loss.
Non-monetary items that are measured at fair value in a foreign currency are translated using the exchange rates
at the date when the fair value was determined. Translation differences on assets and liabilities carried at fair
value are reported as part of the fair value gain or loss.
(C) REVENUE RECOGNITION
Revenue is measured at the fair value of the consideration received or receivable. Amounts disclosed as revenue
are net of returns, trade allowances, duties and taxes paid. Revenue is recognised for the major business
activities as follows:
(i) Sales - merchandise
Income from sale of goods in the store is recognised when the sale transactions occurs.
(ii) Donations
Donations received are recognised as revenue when MCA obtains control of the donations or the right to receive
the donations.
(iii) Government Grants
Grants from the government are recognised at their fair value where there is a reasonable assurance that the
grant will be received and the Company will comply with all attached conditions.
Government grants relating to costs are deferred and recognised in the profit and loss over the period necessary
to match them with the costs that they are intended to compensate.
(iv) Sponsorship income
Income received from sponsors for Corporate Membership is recognised when MCA obtains control of the
sponsorship or the right to receive the sponsorship.
(v) Function Room Hire
Function Room Hire income is recognised when services are rendered.
46
Financial Report
(vi) Rental Income
Rental income is recognised on a straight-line basis over the related lease term.
(vii) Interest Income
Interest income is earned on term deposits and recognised using the effective interest method.
(viii) Entrance Fees Income
Income from entrance fees is recognised upon the sale of the ticket as long as the ticket is not transferrable or
refundable, otherwise income is recognised upon the expiry of the ticket which is generally after the date of
admission on the ticket.
(ix) Fundraising Event Income
Fundraising event income is recognised when services are rendered i.e. after the event has occurred.
(D) EXHIBITION INCOME AND EXPENDITURE
The Company, as part of its activities, organises exhibitions and other projects of contemporary art works, both
from Australia and overseas. Such exhibitions and other projects may incur costs and expenses in years prior to
them being held. In addition, the Company seeks sponsorships and grants to offset those expenses and these
may also be received prior to the realisation of the exhibition or other project.
The exhibition income is recognised in line with note 1(C) above. The expenditure is recognised as it is incurred.
(E) IMPAIRMENT OF ASSETS
Assets that have an indefinite useful life are not subject to amortisation and are tested annually for impairment.
Assets that are subject to amortisation are reviewed for impairment whenever events or changes in
circumstances indicate that the carrying amount may not be recoverable. An impairment loss is recognised for
the amount by which the asset's carrying amount exceeds its recoverable amount. The recoverable amount is
the higher of an asset's fair value less costs to sell and value in use. For the purposes of assessing impairment,
assets are grouped at the lowest levels for which there are separately identifiable cash flows (cash generating
units).
(F) EMPLOYEE BENEFITS
(i) Short-term obligations
Liabilities for wages and salaries, including non-monetary benefits, annual leave and accumulating sick leave
expected to be settled within 12 months after the end of the period in which the employees render the related
service are recognised in respect of employees' services up to the end of the reporting period and are measured
at the amounts expected to be paid when the liabilities are settled. The liability for annual leave and accumulating
sick leave is recognised in the provision for employee benefits. All other short-term employee benefit obligations
are presented as payables.
47
Financial Report
(ii) Other long-term employee benefit obligations
The liability for long service leave and annual leave which is not expected to be settled within 12 months after the
end of the period in which the employees render the related service is recognised in the provision for employee
benefits and measured as the present value of expected future payments to be made in respect of services
provided by employees up to the end of the reporting period. Consideration is given to expected future wage
and salary levels, experience of employee departures and periods of service. Expected future payments are
discounted using market yields at the end of the reporting period on national government bonds with terms to
maturity and currency that match, as closely as possible, the estimated future cash outflows.
The obligations are presented as current liabilities unless payment is not due within 12 months from the reporting
date. They are recognised initially at their fair value and subsequently measured at amortised cost using the
effective interest method.
(G) LEASES
Leases in which a significant portion of the risks and rewards of ownership are not transferred to the Company as
lessee are classified as operating leases (note 17). Payments made under operating leases (net of any incentives
received from the lessor) are charged to profit or loss on a straight-line basis over the period of the lease.
Lease income from operating leases where the Company is a lessor is recognised in income on a straight-line
basis over the lease term (note 17).
(H) DEPRECIATION & AMORTISATION
Depreciation is calculated using the straight-line basis to allocate the cost of assets net of their residual values,
over their estimated useful lives, as follows:
Plant and Equipment
Motor Vehicles
Books and Publications
Furniture and Fittings
Computer Equipment
Works of Art
Building
3 - 5 Years
5 Years
5 Years
2 - 9 Years
3 - 5 Years
Refer 1 (J)
40 Years
Amortisation of the leasehold improvements is calculated on the straight line basis so as to write off the net cost
over the shorter of its useful life or the remainder of the lease term ending in 2039.
(I) LEASEHOLD IMPROVEMENTS
The MCA entered into a lease agreement with Sydney Harbour Foreshore Authority for a term of thirty three
years, seven months and fifteen days from 1 August 2009 to 15 March 2039. The expenditure on Leasehold
Improvements has been recognised as an asset of the Company. Leasehold Improvements are amortised over the
shorter of their useful life or the remaining period of the lease.
48
Financial Report
The MCA entered into an agreement to lease storage facilities with Arts NSW for a term of ten years from 1
August 2003 to 31 July 2013. The Company is currently in a holding over period, while negotiations for the next
term progress. Management's intention is to execute a new ten year lease. The expenditure on Leasehold
Improvements was recognised as an asset of the Company, now at a zero balance. Leasehold Improvements are
amortised over the shorter of their useful life or the remaining period of the lease.
(J) WORKS OF ART
The Company acquires and is gifted art from time to time. Such works when acquired are capitalised at their
acquisition cost. Works of Art gifted to the Museum have been recognised at fair value at the time of the gift.
Expenses relating to the acquisition, including freight and packaging where applicable, are written off in the year
in which they are incurred.
The Company also, from time to time, holds on trust, works of art belonging to various other bodies. These works
are not reflected within the financial statements of the Company.
(K) BOOKS AND PUBLICATIONS
Books and Publications acquired for the Library are capitalised at their acquisition cost. Books and Publications
gifted to the Museum are brought to account if of value. The books and publications are depreciated in
accordance with (H) above.
(L) PROPERTY, PLANT AND EQUIPMENT
All other property, plant and equipment is stated at historical cost less depreciation. Historical cost includes
expenditure that is directly attributable to the acquisition of the items.
Subsequent costs are included in the asset’s carrying amount or recognised as a separate asset, as appropriate,
only when it is probable that future economic benefits associated with the item will flow to the Company and the
cost of the item can be measured reliably. The carrying amount of any component accounted for as a separate
asset is derecognised when replaced. All other repairs and maintenance are charged to profit or loss during the
reporting period in which they are incurred.
(M) CASH AND CASH EQUIVALENTS
For the purpose of presentation in the statement of cash flow, cash and cash equivalents includes cash on hand,
deposits held at call with financial institutions, and other short-term, highly liquid investments with original
maturities of three months or less that are readily convertible to known amounts of cash and which are subject to
an insignificant risk of changes in value.
49
Financial Report
(N) INVENTORIES
Inventories are valued at the lower of cost and net realisable value. Net realisable value is the estimated selling
price in the ordinary course of business less the estimated costs necessary to make the sale.
(O) TRADE RECEIVABLES
Trade receivables are recognised initially at fair value and subsequently measured at amortised cost using the
effective interest method, less provision for impairment. Trade receivables are generally due for settlement
within 30 days. They are presented as current assets unless collection is not expected for more than 12 months
after the reporting date.
Collectability of trade receivables is reviewed on an ongoing basis. Debts which are known to be uncollectible are
written off by reducing the carrying amount directly within other expenses. An allowance account (provision for
impairment of trade receivables) is used when there is objective evidence that the Company will not be able to collect
all amounts due according to the original terms of receivables. Significant financial difficulties of the debtor, probability
that the debtor will enter bankruptcy or financial reorganisation, and default or delinquency in payments (more than 30
days overdue) are considered indicators that the trade receivable is impaired. The amount of the impairment allowance
is the difference between the asset’s carrying amount and the present value of estimated future cash flows, discounted
at the original effective interest rate. Cash flows relating to short-term receivables are not discounted if the effect of
discounting is immaterial.
The amount of the impairment loss is recognised in profit or loss within Other Expenses. When a trade receivable
for which an impairment allowance had been recognised becomes uncollectible in a subsequent period, it is
written off against the allowance account. Subsequent recoveries of amounts previously written off are credited
against other expenses in profit or loss.
(P) TRADE AND OTHER PAYABLES
These amounts represent liabilities for goods and services provided to the Company prior to the end of the
financial year and which are unpaid. The amounts are unsecured and are usually paid within 30 days of
recognition. Trade and other payables are presented as current liabilities unless payment is not due within 12
months from the reporting date. They are recognised initially at their fair value and subsequently measured at
amortised cost using the effective interest method.
(Q) BORROWINGS
The MCA has no outstanding loans payable to any parties for the 2014 financial year.
(R) J W POWER BEQUEST AND THE UNIVERSITY OF SYDNEY
The MCA entered into a management agreement with the University of Sydney on 31 December 2001, in which the
University appointed the Museum as manager of the Collection. At that time the University also waived all outstanding loans
and interest owed by the Museum to the Bequest in return for an on-going agreement to provide Services to the Collection.
The value of those works is not reflected in the financial statements.
50
Financial Report
(S) OTHER FINANCIAL ASSETS
Other financial assets are classified in the following categories: financial assets at fair value through profit or loss,
loans and receivables, held to maturity investments, and available for sale financial assets. The
classification depends on the purpose for which the assets were acquired. The Company has only financial assets
falling into the category of loans and receivables.
Loans and receivables are non-derivative financial assets with fixed or determinable payments that are not
quoted in an active market. They arise when the Company provides goods or services directly to a debtor with no
intention of selling the receivable. They are included in current assets, except for those with maturities greater
than 12 months after the balance date which are classified as non current assets. Loans and receivables are
included in receivables in the statement of financial position (note 3).
(T) GOODS AND SERVICES TAX (GST)
Revenues, expenses and assets are recognised net of the amount of associated GST, unless the GST incurred is
not recoverable from the taxation authority. In this case it is recognised as part of the cost of acquisition of the
asset or as part of the expense. Receivables and payables are stated inclusive of the amount of GST receivable
or payable. The net amount of GST recoverable from, or payable to, the taxation authority is included with other
receivables or payables in the statement of financial position.
Cash flows are presented on a gross basis. The GST components of cash flows arising from investing or financing
activities which are recoverable from, or payable to the taxation authority, are presented as operating cash flows.
(U) INKIND/PRO-BONO SERVICES
Some services may be received by the organisation for no cost in the form of pro-bono services and contra
agreements with suppliers and sponsors. The value of such contributions are not recognised in the financial
report as the fair value for these contributions cannot be reliably measured.
2
INCOME TAX
The Company has been granted an exemption from paying income tax under section 50-5 of the Income Tax
Assessment Act (1997).
3
CURRENT ASSETS - TRADE AND OTHER RECEIVABLES
Notes
2014 ($)
2013 ($)
Trade Receivables
444,243
2,049,950
Other Receivables (*)
257,834
103,712
702,077
2,153,662
(*) These amounts generally arise from transactions outside the usual operation activities of the Company.
4
CURRENT ASSETS – INVENTORIES
Notes
Finished goods
Less: Provision for Stock Write-down and Obsolescence
1(N)
2014 ($)
2013 ($)
296,155
499,727
(150,000)
(150,000)
146,155
349,727
51
Financial Report
5
CURRENT ASSETS – PREPAYMENTS
Notes
Other
6
2014 ($)
2013 ($)
5,423
71,989
5,423
71,989
NON-CURRENT ASSETS - PROPERTY, PLANT, EQUIPMENT AND WORKS OF ART
Notes
2014 ($)
2013 ($)
Leasehold Improvements, at cost - (see note 1 above)
1(I)
1,628,265
1,561,508
Less: Accumulated Depreciation
1(H)
(142,739)
(80,842)
NET BOOK VALUE
1,485,526
1,480,666
Plant & Equipment, at cost
1,009,550
784,880
(739,246)
(575,834)
270,304
209,046
NET BOOK VALUE
Works of Art, at cost
1(J)
16,476,252
15,472,680
1(H)
-
-
16,476,252
15,472,680
NET BOOK VALUE
Books & Publications, at cost
1(K)
113,822
113,822
1(H)
(113,822)
(113,822)
-
-
991,600
984,428
(715,029)
(652,952)
NET BOOK VALUE
276,571
331,476
Computer Equipment, at cost
535,423
444,853
(418,767)
(350,093)
116,656
94,760
73,936
73,936
(73,936)
(66,206)
-
7,730
PP & E - Building Development
55,766,226
55,803,167
(5,685,041)
(3,610,728)
NET BOOK VALUE
50,081,185
52,192,438
68,706,494
69,788,796
NET BOOK VALUE
Furniture & Fittings, at cost
NET BOOK VALUE
Motor Vehicle, at cost
NET BOOK VALUE
TOTAL PROPERTY, PLANT & EQUIPMENT
52
Financial Report
Reconciliations of the carrying amounts of each class of plant and equipment at the beginning and end of the current
financial year are set out below:
Motor
Vehicle
PP & E Building
Development
Computer
Equipment
$
Furniture
& Fittings
$
Books &
Publications
$
Works
of Art
Plant
& Equipment
Leasehold
Improvements
$
$
$
$
$
Total
$
Balance at the
1,480,666
209,045
15.472,680
-
331,476
94,761
7,730
52,192,438
69,788,796
66,757
224,671
1,003,572
-
7.172
90,569
-
899,420
2,292,161
Write off
-
-
-
-
-
-
-
(936,361)
(936,361)
Disposal
-
-
-
-
-
-
-
-
-
(61,897)
(163,412)
-
-
(62,077)
(68,674)
(7,730)
(2,074,312)
(2,438,101)
1,485,526
270,304
16,476,252
-
276,571
116,656
-
50,081,185
68,706,494
beginning of
the year
Additions at
cost
Depreciation/
Amortisation
expense
Carrying
amount at the
end of the
year
7
CURRENT LIABILITIES – TRADE AND OTHER PAYABLES
Notes
2014 ($)
TradePayables
978,324
1,000,564
OtherPayables
388,084
937,419
BuildingDevelopmentcosts–accrual
Provisionforannualleave
8
-
468,522
1,834,930
2013 ($)
-
363,659
2,301,642
CURRENT LIABILITIES – PROVISIONS
Notes
Provision for sponsor benefits
1(F)
2014 ($)
2013 ($)
10,000
10,000
305,964
263,146
315,964
273,146
105
106
EMPLOYEE NUMBERS
Average number of employees during the financial year
53
Financial Report
9
CURRENT LIABILITIES - INCOME IN ADVANCE
Notes
Income in Advance
Income in Advance: grant
10
15
2013 ($)
1,587,985
2,616,413
445,050
623,916
2,033,035
3,240,329
NON CURRENT LIABILITIES - TRADE AND OTHER PAYABLES
Notes
11
2014 ($)
2014 ($)
2013 ($)
192,234
250,068
192,234
250,068
RETAINED SURPLUS
Notes
Retained surplus at the beginning of the financial year
Total comprehensive income for the year
RETAINED SURPLUS AT THE END OF THE FINANCIAL YEAR
2014 ($)
2013 ($)
71,469,379
70,927,956
(327,232)
541,423
71,142,147
71,469,379
12
RELATED PARTIES TRANSACTIONS
(i) Directors
The names of persons who were directors of the Company at any time during the financial year are as follows:
Simon Mordant, Lisa Paulsen, Sarah Morgan, Doug Dean, Lachlan Murdoch, Geoff Dixon, Ari Droga, Scott Perkins,
Elizabeth Macgregor, Hetti Perkins and Susan Norrie. Ivan Wheen was appointed as a director on 6 May 2014.
Katie Page was a director until her retirement on 30 June 2014.
(b) Key management personnel
Key management personnel compensation for the years ended 31 December 2014 and 2013 is set out below. The
key management personnel are all the Executive Director of the Company and the five executives with the
greatest authority for the strategic direction and management of the Company.
Total ($)
2014
1,036,855
2013
1,060,251
There were no other transactions with key management personnel during the year ended 31 December 2014
(2013:nil).
13
ECONOMIC DEPENDENCY
The MCA is partially funded by the NSW Government through Arts NSW.
54
Financial Report
14
SUBSEQUENT EVENTS
There has not been any matter of circumstance that has arisen since the end of the financial year that has
significantly affected or may significantly affect the operations of the Company, the results of those operations or
the state of affairs of the Company in subsequent years.
15
GRANTS
UNEXPENDED GRANTS
CARRIED FORWARD TO
2015 ($)
GRANT EXPENDITURE
IN 2014 (NET GRANT
INCOME) ($)
GRANT INCOME
RECEIVED IN 2014 ($)
UNEXPENDED GRANTS
BROUGHT FORWARD
FROM 2013 ($)
GRANT
DETAILS
Arts NSW
Core Funding
-
3,563,090
3,563,090
-
Arts NSW
Other grants
-
130,000
16,019
113,981
Australia Council
Core Funding - Key
Organisations & VACS
-
564,494
564,494
-
Australia Council
Other grants
252,091
102,000
203,068
151,023
Visions
Visions of Australia
177,134
158,240
155,328
180,046
146,348
-
146,348
-
48,343
24,612
72,955
-
-
17,338
17,338
-
-
5,000
5,000
-
623,916
4,564,774
4,743,640
445,050
Local Council
grants
Trusts &
Foundations
International
Foundations
Destination NSW
TOTAL
16
CONTINGENT LIABILITIES
The Company does not have any contingent liabilities at 31 December 2014.
55
Financial Report
17
LEASING ARRANGEMENT
(a) Company as lessee
Operating leases
Commitments for minimum lease payments in relation to non-cancellable operating leases are payable as follows:
Notes
2014 ($)
2013 ($)
Withinoneyear
-
-
Laterthanoneyearbutnotlaterthan5years
- -
Laterthan5years
- -
-
-
(b) Company as lessor
Operating leases
Future minimum lease payments expected to be received in relation to non-cancellable operating leases
are as follows:
Notes
2014 ($)
2013 ($)
3,580,116
3,503,529
Later than one year but not later than 5 years
11,165,674
12,473,569
Later than 5 years
37,690,010
39,962,232
52,435,801
55,939,330
Within one year
18
FINANCIAL RISK MANAGEMENT
The Company's financial instruments consist mainly of deposits with banks, accounts receivable and payable.
Notes
2014 ($)
2013 ($)
FINANCIAL ASSETS
Cash and cash equivalents
Loans and receivables
1(M)
3
TOTAL FINANCIAL ASSETS
5,958,161
5,170,390
702,077
2,153,662
6,660,238
7,324,052
FINANCIAL LIABILITIES
Financial liabilities at amortised cost:
- Trade and other payables - current
7
1,834,930
2,301,642
- Trade and other payables - provisions
8
315,964
273,146
- Trade and other payables - non-current
10
192,234
250,068
TOTAL FINANCIAL LIABILITIES
2,343,128
2,824,856
56
Financial Report
DIRECTORS' DECLARATION
In accordance with a resolution of the directors of the Museum of Contemporary Art, I state that:
In the opinion of the directors:
1. The financial statements and notes, as set out on pages 6 to 17, are in accordance with the Corporations Act 2001 and:
(a) comply with Australian Accounting Standards - Reduced Disclosure Requirements; and
(b) give a true and fair view of the financial position of the Company as at 31 December 2014 and of its performance
for the year ended on that date.
2. In the directors' opinion there are reasonable grounds to believe that the Company will be able to pay its debts as and
when they become due and payable.
On behalf of the Board
Simon Mordant
Chair
Sydney, 21 April 2015
57
Financial Report
58
Financial Report
59
Financial Report
60

2014 MCA Annual Report - Museum of Contemporary Art

Transcription

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