Colonising The Future
Colonising the Future is the idea that people’s anticipation of the future reflect their own interpretations of the present condition. Influenced by Rosi Braidotti's 'Posthuman' ideas, the exhibition reexamines the link between individuality and the collective world. This exhibition aims to recast future expectations through innovative perspectives, challenging conventional narratives that constrain our imagination. (Braidotti, 2013)
Curatorial Rationale
By reimagining the future, Colonising the Future’s vision transcends the anthropocentric paradigm, contemplating a coexistence with myriad forms of life in the universe. This exhibition examines the intricate interplay between nature and technology, recognising the interdependence between humans and all forms of life. (Braidotti, 2019)
The exhibition explores the concept that the future is not merely a product of human technological advancement but is deeply rooted in our interactions and relationships with Earth and the many forms of life it harbours. Colonising the Future aspires to evoke a contemplation of humanity's place within the ecological, social, and cosmic webs, proposing a vision for a more inclusive and symbiotic future.
With artists from all over the world, Colonising the Future offers interpretations through the lens of diverse races, backgrounds, and identities which creates a dialogue from a convergence of voices. Through photography, sculpture, videography, and installation, the works by artists Carl Andre, Lee Bul, Michael Candy, Heather Dewey, Tianzhuo Chen, Janet Laurence, Yang Lu, Patricia Piccinini, Pierre Huyghe, Diana Thater and Xiaohu Zhou craft a multisensory narrative that propels visitors into a contemplative future.
Visitors can expect an unfolding visionary journey, catalysed by provocative ideas that transcend conventional ideas of the future. Ecology and culture are intertwined in complex, reciprocal ways, prompting reflection on the interconnectedness of life and the breakdown of hierarchies produced by a single human perspective.
Institutional Analysis
(MCA) Museum of Contemporary Art Australia
140 George Street, The Rocks NSW, 2000, Australia
MCA is a pivotal junction between past and present, international dialogues and local conversations. Founded in 1991, the MCA has been an instrumental figure in the presentation and collection of contemporary art from across Australia and around the globe.
The MCA aims to move with the times and expose audiences to contemporary art and ideas. It displays various artworks, from traditional paintings and sculptures to digital art, and the ever-changing exhibition media reflects the diversity of contemporary art practice. Committed to education and public engagement, it makes contemporary art accessible and understandable to audiences of all ages by offering a variety of workshops, lectures and interactive tours. It not only brings more praise to well-known artists but also provides opportunities for emerging young artists to showcase their creations and ideas. (MCA, 2023)
Thematic Narrative Approach
Colonising the Future challenges anthropocentrism, reimagining society and ecology through multi-species integration. By exploring ecological intervention, interdependence, and intertwining relationships, the exhibition moves beyond human centrality, allowing new narratives to emerge. Visitors are invited to engage with artists' expressions, contemplating a future shaped by cosmic symbiosis and the metamorphosis of identity and consciousness.
The exhibition is structured around three sub-themes: "Beyond the Human Gaze," "Converging Horizons," and "Threads of Becoming." These interconnected concepts encourage visitors to reflect on shifting perspectives and alternative ways of existing. Through an interplay of ideas, the exhibition reshapes the relationship between humans and the universe, challenging assumptions about hierarchy and dominance. The spatial design aligns with these themes, featuring a fluid, non-linear layout that incorporates shared spaces, reinforcing the principles of circularity and diversity found in posthumanist thought.
A diverse range of photography, sculpture, interactive installations, immersive games, and multimedia videos brings these ideas to life. The exhibition strategically employs White Cube, Laboratory, and Black Box paradigms to create contrasting experiences—sometimes placing the audience within the art’s atmosphere, while at other times encouraging detached contemplation. By prompting visitors to reconsider their role in the universe with humility and reverence, Colonising the Future fosters a vision of a more inclusive, symbiotic future.
Participating Artists
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Pierre Huyghe
Born 1962, Paris, France, lives and works in Paris and New York. His practice encompasses a variety of media including film, installations, and public events, and he is renowned for his complex immersive ecosystems that blur the lines between reality and fiction.
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Lee Bul
Born 1964, Yeongju, South Korea, lives and works in Seoul, South Korea.Janet Laurence. She is best known for her provocative and innovative pieces that explore themes of futurism, human body, and bio-technology.
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Paul Ramírez Jonas
Born 1965, Pomona, California, USA, lives and works in New York City, is a contemporary multimedia artist whose work predominantly explores themes of public interaction, social exchange.
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Xiaohu Zhou
Born 1975, Beijing, China, lives and works in Beijing, is an innovative multimedia artist known for integrating traditional Chinese aesthetics with modern digital techniques.
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Patricia Piccinini
Born 1965, Freetown, Sierra Leone, based in Melbourne, Australia, is a contemporary artist renowned for her hyperrealistic sculptures and installations.
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Tianzhuo Chen
Born 1985, Beijing, China, lives and works in Beijing, China. His work is known for its eclectic mix of performance art, sculpture, and installation, often addressing themes of pop culture and spirituality.
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![Michael Candy]()
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Born in Australia, lives and works in Australia. He is an artist whose practice involves the creation of kinetic sculptures and interactive installations that explore the relationship between technology and the environment.
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Carl Andre
Born 1935, Quincy, Massachusetts, USA, lives and works in New York, USA. He is a minimalist artist renowned for his grid-based sculptures and floor pieces using industrial materials.
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Neri Oxman
Born 1976, Haifa, Israel, currently based in Boston, USA, is a renowned designer and professor at the MIT Media Lab.
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W. Craig Carter
Born 1961, United States, currently based in Massachusetts, is a prominent materials scientist and professor at MIT. His work is distinguished by its innovative blend of materials science, engineering and applied physics.
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Janet Laurence
Born 1947, Sydney, Australia, and based there, is a renowned contemporary artist. Her works encompassed a diverse range of mediums, including installation, photography and video.
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Yang Lu
Born 1984, China, is a prominent contemporary artist known for her diverse artistic mediums, including painting, sculpture, and digital art. Renowned for her cross-cultural perspective and exploration of socio-political themes.
Exhibition Period Rationale
9January - 9 April，2026
Late spring to early summer is an ideal period for the exhibition, aligning with increased museum visitation driven by warmer weather and seasonal activities in Australia (Davidson & McCarthy, 2019). This period attracts both locals and tourists, boosting engagement in cultural events. Additionally, school holidays from January to April present an opportunity to target families and elderly visitors, as they are more likely to participate in educational and cultural activities (Temple & Gan, 2020).
Choosing early January ensures accessibility to international visitors post-Christmas, while extending through Easter capitalizes on another major school holiday period, broadening its reach to youth and families. This timeline also accommodates local audiences who may prefer visiting outside peak tourist crowds. By selecting a time that enhances diversity and inclusivity, the exhibition maximizes its impact, engaging visitors from varied socio-economic and cultural backgrounds (Falk, 1995).
Target Audience and Experience
Combining the data from the "AUDIENCES 2023+ for AUS" report and the Faulk model, we can more comprehensively understand and meet the needs of different audiences. We consider these diverse audiences to attract and retain a wider audience. In this way, the exhibition provides a rich and diverse experience, deepens the connection with the audience, and promotes cultural exchange and learning.
General MCA trends:
The exhibition aims to capture a combination of tourists who frequent the tourist attractions around the museum whilst capturing the volume of office workers in offices that are in the proximity of the city. As the exhibition lasts for a few months, it also aims to draw crowds from suburbia and local tourism for the period in which activity spikes in Sydney during holidays and weekend with good weather in those early months of the year.
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Age group: Mainly concentrated on 25-44 years old, accounting for a more significant proportion of museum visitors.
Characteristics: This group seeks personal study and family education and is excited by knowledge-gain and new experiences.
Related data: More than 55% of museum visitors are driven by personal learning and encouraging families and children to learn
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Age range: Mostly adults, may include young creatives and older learners.
Characteristics: This group includes artists, designers, curators, and art critics who have a professional or deeply personal interest in emerging art forms.
Related data: 42% of adults spend more than 60 minutes visiting a museum, indicating a deep interest in cultural experiences
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Characteristics: Educators and students may appear as part of an educational program or group visit to provide experiences for others
Related data: 35% of museum visitors come in family groups, suggesting some may be bringing students or family members
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Characteristics: General public and cultural consumers seeking unique and enriching cultural experiences.
Related data: 52% of visitors live within a 30-minute drive of a museum, showing how vital regional audiences are to museums
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Characteristics: For the general public seeking a meditative experience or personal enrichment and those interested in finding a peaceful refuge in an engaging setting.
Related data: Museums attract more female visitors than other art forms, which may indicate that women are more inclined to seek this type of experience
Artworks
Willing to be vulnerable—Metal Balloon V3 Lee Bul Installation - Fabric, PET film, transparent TPU, acrylic paint, LED lighting, electronic wiring 2015-2016
Imaginary Beings (Minotaur Head with Lamella) Neri Oxman, W. Craig Carter, Joe Hicklin, Turlif Vilbrandt 3D printed multicolored Vero acrylic polymer 2012
Cellular Gardens (where breathing begins) Janet Laurence Installation - stainless steel, mild steel, acrylic, blown glass, plastic tubing, rain forest plants 2005
A Way in Untilled Pierre Huyghe Video 2012
The Struggle Patricia Piccinini Fibreglass, automotive paint, leather, steel, cycle parts 2017
The Stags Patricia Piccinini Fiberglass, automotive paint, leather, steel, plastic, and rubbe 2008
"The Great Adventure of Material World" Yang Lu Interactive Game, 2019
Delusional World - Bardo #1 Yang Lu Photographic - 24V LED illuminated 2021
144 Titanium Square Carl Andre Installation - Titanium 2011, fabricated 2017–8
Big Dipper Michael Candy Kinetic light sculpture 2014
Pilot No.2 Tianzhuo Chen Installation 2017
Another Day Paul Ramírez Jonas Three monitors, custom-made microcontroller, and PBASIC code output to NTSC video signal 2003
The Present Has Become The Past Xiaohu Zhou Electric Installation 2016
Exhibition Design
Design Concept & Strategy
The Level 1 Galleries at MCA are transformed into an immersive journey through interconnected realities, structured around the sub-themes “Beyond the Human Gaze,” “Converging Horizons,” and “Threads of Becoming.” The spatial experience begins in a dedicated space for the first theme, detaching visitors from traditional perceptions and priming their senses for transformative encounters. A tranquil transitional space follows, offering a meditative atmosphere that guides visitors towards deeper exploration.
The second and third themes merge in an open, fluid layout, encouraging both linear exploration and non-linear discovery. Visitors navigate freely, experiencing artworks from multiple vantage points. Interactive elements respond to presence, reinforcing themes of becoming and transformation. The journey concludes at a central hub, a reflective space that reunites the themes, fostering dialogue and contemplation on identity, existence, and our interconnected futures.
Branding & Identity
Primary Font: Aero
Secondary Font:Baloo Da
Colour Scheme:
Inspired by the colours found within the curated artworks
Display Strategy
White Cube, Track Lighting, Black Box Video
When designing this exhibition, we used elements such as White cube, Track lighting and Black box video. These design choices are not only for aesthetic considerations but also to enhance the audience's experience. These spatial design elements do not exist in isolation but can be integrated to create a new viewing experience (Zryd, 2015). The White Cube provides a neutral background, allowing viewers to focus on the art. At the same time, Track Lighting flexibly highlights specific parts of the exhibits, enhancing the visual impact of the works. As for Black Box Video, it creates an immersive environment that mimics the viewing experience of a cinema, allowing viewers to be fully immersed in video art. The combined application of these design elements in aesthetics and artistic practice provides the audience with a unique experience between a traditional theatre and a gallery, thereby enhancing the interaction and depth of perception between the audience and the artwork (Uroskie, 2014), so we integrate these three exhibition design methods into the space.
Layout Plan
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Layout and Visitor Flow
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Heat Map
Promotional Materials
Audience Feedback Form
