1 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 inspireMuseum people. With an of entire Contemporary floor dedicated to the MCA Art Australia Collection and two floors featuring changing exhibitions showcasing Australian and international artists, the Museum offers a major national resource for educationPerformance and interpretative programs. and Financial Year Report
The National Centre for Creative Learning including a library, digital and multimedia studios, a seminar room and lecture theatre, provides physical and virtual spaces for people of all ages across Australia 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.
2 CONTENTS
4 Chairman and Director’s Messages
5 2013 Highlights
6 Curatorial and Digital
7 Exhibitions and Touring
15 Building Commissions
16 C3West
17 MCA Publications
18 Digital Interpretation
19 Gifts and Purchases
21 Audiences and Creative Learning
22 Public Engagement
24 Student and Teacher Engagement
25 Visitor Experience
26 Communications
27 Development & Enterprises
30 Financial Report
Image Credits Front Cover Guests arriving for ARTBAR – Curated by Keg de Souza, 31 May 2013, Featured Foyer Wall: Guan Wei, The Journey to Australia, 2013, synthetic polymer paint on wall, commissioned by the MCA, 2013, supported by Veolia Environmental Services. Featured: Brook Andrew, Warrang, 2012, animated LED arrow, Australian hardwood with shou-sugi-ban finish, sand-blasted concrete, epoxy resin, Commissioned by the MCA, 2012,, image courtesy and © the artists, photograph: Michael Wholley Inside Front Cover Façade of the Mordant Wing, MCA, 2013, photograph: Pieter Naessens 3 CHAIRMAN’S MESSAGE DIRECTOR’S MESSAGE
2013 has seen the MCA consolidate the success of the 2013 has been a year of great challenges and great remarkable re-opening year of 2012. During 2013 the triumphs including presenting the first major MCA continued to grow audiences and audience survey in Australia of legendary artist, musician and engagement in Sydney, regionally, nationally and activist Yoko Ono, installing the incredible new online. Visitor numbers once again exceeded all foyer commission by Guan Wei, working with Craig expectations and by the end of 2013 over 1.7 million Walsh on his challenging and at times controversial people had visited the MCA since the re-opening just project Embedded, and regularly turning the 21 months ago. Museum over to artists, teenagers and families as the spectacular madness and mayhem of ARTBAR, Continuing to operate efficiently and creatively – the genext and Sunday Family Fun Days continued. team, led by the board and Elizabeth Ann Macgregor, have returned the organisation to an operating Artists, creativity and learning are at the heart of surplus following the major expenses of the re- everything we do at the MCA and in 2013 more opening year and partial closures of the preceding people than ever before experienced an MCA two years and in 2013 generated nearly 80% of exhibition or program or engaged with us online, income through non-government sources. This discovering living artists and their work, seeing the success has facilitated another year of outstanding impact they have on the community and shaping Australian and international exhibitions and creative our world. Thank you to our loyal supporters for programs and cemented the MCA’s position as helping us to continue realising our vision. Australia’s Museum of Contemporary Art.
Simon Mordant AM Elizabeth Ann Macgregor OBE Photograph: Tristan Deratz Photograph: Brendan Read
4 — 894,8761 visitors came through the doors of the MCA in 2013 – and we welcomed our 1,000,000th visitor less than 12 months since reopening
— More than 220 artists were represented in the exhibition and touring programs
— 256 works added to a Collection of over 4,000
— Over 71,000 creative learning program participants – including 12,128 participants to our Kids & Families programs and 1,584 students with special needs and their carers attending one of our Bella programs.
— Nearly 8,000 people were guided through the MCA by 34 dedicated
voluntary guides
— 681 students from 37 schools ‘came’ to the MCA via a digital excursion
— 65,447 people visited an MCA touring exhibition across the country
— An average of over 50,000 unique website users each month
— Facebook fans increased by 65% in 2013
— Over 40% more Twitter followers
— 36% more eNews subscribers
— Nearly 80% of total income earned from MCA’s own sources
— Membership numbers rose by nearly 400%
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
In 2013, the MCA presented
— 2 continuing exhibitions (commenced in late 2012) — 8 new exhibitions — changing displays of the MCA Collection and new acquisitions — a new regional touring exhibition, domestic and international tours of 3 popular 2012 and 2013 MCA exhibitions — 3 new C3West projects — 2 new artist commissions — a performance season — 8 new print publications and 2 e-publications.
Juz Kitson, Changing Skin, 2013, Southern Ice porcelain, Jingdezhen porcelain (pig fat porcelain), terracotta clay, paraffin wax, horse, fox, goat and human hair, alpaca and sheep wool, deer and cow hide, flocking, resin, natural found material, silk thread, tulle, polyurethane, oxidized, PVD fired (physical vapour deposition), lustre and raku fired, installation view Primavera 2013, MCA, 2013, image courtesy and © the artist, photograph: Alex Davies 6 MCA Annual Review 2013 Curatorial and Digital
EXHIBITIONS AND TOURING
ANISH KAPOOR 20 December 2012 – 1 April 2013, ticketed entry Curator Elizabeth Ann Macgregor OBE Continuing in 2013, the first major solo exhibition in Australia by internationally renowned artist Anish Kapoor, presented as part of Destination NSW’s International Art Series introduced Sydney audiences to key bodies of work from the artist’s career since the early 1980s to the present.
Venue Dates Duration (Days) Total Visits
MCA 20 December 2012 – 1 April 2013 102 92,438
TABOO 19 December 2012 – 24 February 2013, free entry Guest Curator Brook Andrew Also continuing in 2013, TABOO brought together Australian and international artists who respond to ideas around race, ethnicity, politics, sex and nudity, death and religion. The exhibition set out to represent fragments of history, narrative and memory through art works and contextual materials that, when juxtaposed, create a powerful and emotional effect.
Venue Dates Duration (Days) Total Visits
MCA 20 December 2012 – 24 February 2013 67 130,389
Anish Kapoor, Memory, 2008, installation view, Anish Kapoor, MCA, Jompet, War of Java: Do You Remember #3, 2009, installation view 2012, Cor-Ten steel, Deutsche Bank and Solomon R. Guggenheim TABOO, MCA, 2012, mixed media installation including video, collection Foundation, image courtesy and © the artist, photograph: Alex Davies of Mainland Art Fund, Melbourne, image courtesy and © the artist, photograph: Alex Davies
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SOUTH OF NO NORTH: LAURENCE ABERHART, WILLIAM EGGLESTON AND NOEL MCKENNA 8 March – 5 May 2013, free entry Curator Glenn Barkley This exhibition presented paintings and photography from three artists whose works are connected by an interest in the vernacular, a regional sense of place and a similar visual sensibility. It is part of an ongoing series at the MCA placing the work of an Australian artist alongside that of their international peers.
Venue Dates Duration (Days) Total Visits
MCA 8 March – 5 May 2013 59 87,922
Artspace Mackay 5 July – 25 August 2013 52 3,127
City Gallery, Wellington 14 December 2013 – 9 March 2014 85 36,023
JEFF WALL PHOTOGRAPHS 1 May – 28 July 2013, free entry Curator Gary Dufour (Art Gallery of Western Australia) Canadian Jeff Wall is recognised as one of the most intriguing and influential artists working today. This overview covered three decades of his artistic and photographic innovation and included his large-scale works – epic and luminous large colour photographs presented as transparencies in light boxes; black and white prints; more recent colour prints; and intimate small-scale photographic observations. Jeff Wall Photographs was an exhibition organised by the Art Gallery of Western Australia in association with the MCA.
Venue Dates Duration (Days) Total Visits
MCA 1 May – 28 July 2013 89 94,583
South of No North: Laurence Aberhart, William Eggleston and Noel Jeff Wall Photographs, installation view, MCA, 2013, image courtesy McKenna, installation view, MCA, 2013, image courtesy and © the and © the artist, photograph: Alex Davies artist, photograph: Alex Davies
8 MCA Annual Review 2013 Curatorial and Digital
WANGECHI MUTU 23 May – 11 August 2013, free entry Curator Rachel Kent This major presentation featured collage, drawing, sculpture, installation and video from this Kenyan-born, Brooklyn-based artist. Visitors were drawn into contemplations on beauty, consumerism, colonialism, race and gender through the thought-provoking and sumptuous works, shown for the first time in Australia.
Venue Dates Duration (Days) Total Visits
MCA 23 May – 11 August 2013 85 141,319
STRING THEORY: FOCUS ON CONTEMPORARY AUSTRALIAN ART 15 August – 27 October 2013, free entry 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. string theory continued the MCA’s longstanding involvement with these important areas of artistic activity in Australia.
Duration Venue Dates Total Visits (Days)
MCA 15 August – 27 October 2013 74 70,182
Perth Institute of Contemporary Art 15 November 2013 – 5 January 2014 51 21,726
Wangechi Mutu, Perhaps the Moon Will Save Us, (detail), 2008, Boolarng Nangamai Aboriginal Art & Culture Studio, blankets, plastic pearls, aluminium foil, animal pelts, clothing, photo Warrambool Dreaming Weaving Panels, 2013, installation view, string collage, packing tape, ink, paint; and Mountetas, (detail), 2008, packing theory: Focus on contemporary Australian art, MCA, 2013, image tape, wood, hardware, ink, installation view, Wangechi Mutu, MCA, 2013, courtesy and © the artists, photograph: Alex Davies image courtesy and © the artist, photograph: Alex Davies
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PRIMAVERA 2013 12 September – 17 November 2013, free entry Guest Curator Robert Cook This annual exhibition showcasing the work of young Australian artists featured eight artists from around the country pushing their work in compelling directions. Themes included a moving investigation of romantic and family relationships, the creation of portals into fictional realms, a look at the role of language in shaping (and breaking down) the self and the ways in which sound shapes our physical and emotional worlds.
Venue Dates Duration (Days) Total Visits
MCA 12 September – 17 November 2013 67 90,685
EMBEDDED: CRAIG WALSH 12 September – 24 November 2013, free entry Curators Judith Blackall and Robert Leonard (Institute of Modern Art) Craig Walsh worked with the Pilbara community, rangers and Rio Tinto and developed two spectacular moving-image works and a series of photographic portraits reflecting on the connection the local Aboriginal people have to their country, particularly its extraordinary historic rock art. Walsh filled the gallery with twenty-one industrial bins, brimming with iron ore to make real the connection between the land, the people and the art. Embedded was a joint project by the Museum of Contemporary Art Australia and the Institute of Modern Art, Brisbane.
Venue Dates Duration (Days) Total Visits
MCA 12 September – 24 November 2013 74 86,792
Brendan Huntley, Untitled, 2012–13, stoneware, terracotta, raku, Craig Walsh, Installation view, Embedded: Craig Walsh, Museum of glaze, slip and enameled wooden bats, installation view Primavera 2013, Contemporary Art Australia, 2013, image courtesy the artist and MCA, mage courtesy and © the artist, photograph: Alex Davies Museum of Contemporary Art Australia, © the artist, photograph: Alex Davies
10 MCA Annual Review 2013 Curatorial and Digital
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
Yoko Ono, BALANCE PIECE, 1998, Installation view, War I s Over! (if you want it): Yoko Ono, Museum of Contemporary Art Australia, 2013, image courtesy and © the artist, photograph: Alex Davies
11 MCA Annual Review 2013 Curatorial and Digital
NEW ACQUISITIONS IN CONTEXT 2013 12 December 2013 – 23 February 2014 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
MCA COLLECTION The MCA Collection consists of over 4,000 works accessioned since 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 2013, the MCA accessioned 256 works into the Collection, the majority of which were gifts to the Museum. Donation highlights included three photographic series by Tracey Moffatt as well as works by Simryn Gill, Lindy Lee, Gordon Bennett and Janet Laurence, to name a few.
With the expansion of the Museum and its dedicated Collection galleries in 2012, a new MCA Foundation was established to raise funds specifically for the acquisition or commissioning of works for the collection. Acquisition highlights for 2013 made possible through the generosity and support of the MCA Foundation included Judith Wright’s Relative Conversations (2006), Christian Capurro’s Another Misspent Portrait of Etienne de Silhouette (1999-2007), Khadim Ali’s The Haunted Lotus (2011-12), Gordon Bennett’s Abstraction (Native) (2013) and the monumental Tabula Rasa (for my father) (2011) by Imants Tillers.
Dates Duration (Days) Total Visits
MCA Collection: Volume One 1 January – 31 December 2013 364 411,838
Foreground: Rosalie Gascoigne, Set up, 1984, synthetic polymer paint New Acquisitions in Context 2013, installation view, MCA, 2013, image on wood, enamelware. Background: Judith Wright, Relative courtesy and © the artists, photograph Jessica Maurer Conversations, 2006, MCA, purchased with funds provided by the MCA Foundation, 2013, installation view, New Acquisitions in Context 2013, MCA, 2013, image courtesy and © the artists, photograph: Alex Davies
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NEW ACQUISITIONS 2013
Top Middle Bottom Khadim Ali, The Haunted Lotus, 2011–12, Judith Wright, Relative Conversations, 2006, Imants Tillers, Tabula Rasa (for my father) gouache, ink and gold leaf on wasli paper, acrylic on Japanese paper, Museum of 2011, acrylic, gouache on 288 canvas boards, Museum of Contemporary Art, purchased with Contemporary Art, purchased with funds Museum of Contemporary Art, purchased with funds provided by the MCA Foundation, 2013, provided by the MCA Foundation, 2013, image funds provided by the MCA Foundation, 2013, image courtesy and © the artist, photograph: courtesy and © the artist, photograph: Alex image courtesy and © the artist, photograph: Alex Davies Davies Alex Davies
13 MCA Annual Review 2013 Curatorial and Digital
THE WANDERING: MOVING IMAGES FROM THE MCA COLLECTION Curator Isabel Hesketh To provide access to video art from the MCA Collection for regional audiences, the MCA developed this new touring exhibition along with public programs and workshops delivered by MCA staff. In addition, the development funding generated new research and content about the MCA Collection.
Venue Dates Duration (Days) Total Visits
Ararat Regional Art Gallery 14 March – 14 April 2013 31 days 802
Cairns Regional Gallery 3 May – 23 June 2013 52 days 12,138
Glasshouse Port Macquarie 4 July – 25 August 2013 53 days 4,510
Artspace Mackay 20 September – 19 October 2013 30 days 1,418
Devonport Regional Gallery 1 November – 8 December 2013 38 days 2,363
CLAIRE HEALY & SEAN CORDEIRO Curator Anna Davis This exhibition, shown at the MCA in 2012, toured to Queensland.
Venue Dates Duration (Days) Total Visits
University of Queensland Art Museum 6 April - 28 July 2013 114 days 11,506
PERFORMANCE SEASON
WORKOUT: 7 DAYS OF EXPERIMENTAL PERFORMANCE 22–28 April 2013 Curator Anna Davis Over seven days to seven Australian artists and collaborative groups were each given a day in the MCA’s Level 1 North Gallery to present temporary works using the body and everyday materials. Drawing on the double meaning of ‘workout’ as a strenuous exercise routine and a test of performance capability, the project reflected on artists’ approaches to physical activity, mental exertion, training and endurance. It also offered a platform for artists to ‘work out’ ideas in a public context, exploring this activity as part of the creative process.
Venue Dates Duration (Days) Total Visits
MCA 22–28 April 2013 7 days 15,412
14 MCA Annual Review 2013 Curatorial and Digital
BUILDING COMMISSIONS
BELLA COMMISSION Japanese-born, Sydney-based artist Hiromi Tango was the second artist commissioned to create an artwork for the Jackson Bella Room for children with specific needs in the National Centre for Creative Learning. Her work Dance transformed the space into a colourful and playful interactive learning environment, using a range of colours, patterns and textures to create an experience that was stimulating, safe and, above all, fun. Participants were able to explore the artwork through touch-screens incorporated into sculptural components, creating an interface that makes technology more personal, linking language and social interaction.
FOYER WALL COMMISSION The Journey to Australia was a wall painting by artist Guan Wei and the second work commissioned for the MCA’s Circular Quay entrance. The painting was inspired by debates about immigration and refugees in Australia; in particular the heated commentary that often surrounds the arrival of people to this country by boat. Combining imagery from mythology, fantasy, history and the present day, the work depicted a fleet of refugee boats heading towards Australian shores. The work referenced the location of the MCA at the site where the British first came ashore on Gadigal land in 1788.
Hiromi Tango, installation view, Dance 2013, fabric, wool, Guan Wei, The Journey to Australia 2013, synthetic polymer paint on neon, digital media, commissioned by the MCA for the Jackson wall, commissioned by the MCA, 2013, supported by Veolia Bella Room, 2013, image courtesy and © the artist, Environmental Services, image courtesy and © the artist, photograph: photograph: Alex Davies Leo Bonne
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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.
C3West opened 2013 with the second stage of Lara Thoms’ multi-part project, Ultimate Vision: Monuments to Us, in collaboration with Hurstville City Council and Westfield Hurstville. The artist created the Hub of Democracy in Westfield Centre Court, a space reserved for teenagers to interact and spend time, voting for the ‘ultimate’ in a number of categories and then transforming the results into a series of site-specific interventions throughout Westfield – ’monuments’ to the desires and opinions of Hurstville’s young people. Ultimate Vision: Monuments to Us was awarded a Museums and Galleries NSW Imagine award in 2013.
New Zealand-based artist Michel Tuffery conducted a print-making residency in Airds in south-western Sydney in June. He worked with local young people and Airds High School students for a week, teaching woodcut and linocut as part of his developing Transforma project.
Planning commenced for the second major artwork in the Tracing the Parklands project, a collaboration with Western Sydney Parklands Trust raising awareness of and creating interaction with the Parklands.
Renee Naji leading a tour of: Lara Thoms, Ultimate Vision – Artist Michel Tuffery leads print-making workshops with Airds Monuments to Us, 2013, Westfield Hurstville, 4-10 April 2013, a High School students as part of his seven-week residency for C3West project with Hurstville City Council and Westfield Hurstville, art project Transforma, 2014. Image courtesy and © the artist. image courtesy and © the artist, photograph: Zan Wimberley
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MCA PUBLICATIONS
Curator: Brook Andrew Curators: Robert Leonard, Title: TABOO Judith Blackall Description: 176 pages, soft Title: Craig Walsh cover with screen printed Description: 196 pages, soft plastic slipcover, full colour, cover, dust jacket, colour uncoated paper Illustrated Essays by Brook Andrew, Essays by both curators, Marcia Langton and 11 Michael Fitzgerald, AnneMarie additional short texts by other Kohn contributors. Print Run: 700 Print Run: 750 $ RRP: $44.95 $ RRP: $29.95
Title: MURUJUGA IN THE Curator: Glenn Barkley PILBARA A collaborative Title: SOUTH of no NORTH project by Craig Walsh with 140 pages, hard cover, Murujuga Aboriginal colour Illustrated Corporation, Museum of Essays by Glenn Barkley Contemporary Art Australia and Noel McKenna and Rio Tinto Print Run: 750 Description: 56 pages, soft $ RRP: $39,95 cover, colour Illustrated, Essays by Judith Blackall, Craig Walsh, Ken Mulvaney and Ron Critchley Print Run: 550 $ RRP: $19.95
Curator: Rachel Kent Curator: Robert Cook Title: Wangechi Mutu Title: Primavera 2013: 132 pages, hard cover, Young Australian Artists reversible dust jacket, Description: Essays by colour Illustrated Robert Cook and Ivan Essays by Rachel Kent, Muñiz Reed Adrienne Edwards, Martin Print Run: 500 Kimani and Dan Cameron RRP: $27.50 Print Run: 500 $ RRP: $39.95
Curator: Glenn Barkley Curator: Rachel Kent Title: String Theory: Focus Title: War is Over! (if you on Contemporary want it): Yoko Ono Australian Art Description: paperback Description: 142 pages, and hardback, colour soft cover, dust jacket, illustrated, 208 pages, colour Illustrated Essays by Rachel Kent, Introductory essay by Nora Halpern, John Dunbar, Glenn Barkley; multiple Peaches contributors. Print Run: 1,500 Print Run: 750 RRP:$54.95 paperback, $ RRP: $39.95 $69.95 hardback
The final version of the Anish Kapoor e-publication was released and a new e-publication was produced to accompany The Wandering touring exhibition.
17 MCA Annual Review 2013 Curatorial and Digital
DIGITAL INTERPRETATION
The Digital Media team contribute to many initiatives across the Museum including developing content for MCA’s website, the MCA Insight app and social media platforms, creating a program of digital excursions and a series of ePublications and recording documentation of MCA exhibitions and activities.
The MCA ePublication Anish Kapoor on the MCA Publications app initially developed in 2012 and then enhanced in 2013, won best rich media project at the Best of the Web awards announced at the Museums and the Web conference in Oregon, USA in April. In a world first, this app is a 'living catalogue' which evolved over the course of the exhibition, presenting the experience of the exhibition and its installation through interviews, photographs, interactive panoramas and videos. The app has been downloaded over 1,400 times.
The MCA’s website continued to be a source of information for visitors, students and contemporary art explorers with 541,047 unique visitors in 2013. The MCA website received two awards at the Museums Australia Multimedia and Publishing Design Awards (MAPDA) at the Museums Australia national conference in Canberra in May – Best Museum Website and the overall Best in Show.
Other highlights in 2013 included travelling to Yirrkala Art Centre, Northern Territory, to film artists for the string theory exhibition and the MCA Collection and developing the Murujuga in the Pilbara microsite to support the Embedded: Craig Walsh exhibition. The microsite was developed in collaboration with MCA Corporate Member Razorfish and documents Craig Walsh’s residency and resulting artwork from the Pilbara, a project commissioned by MCA Major Partner Rio Tinto to celebrate and publicise the Murujuga National Park area and the rock art it protects.
Original digital content is now being produced regularly and shared across all digital and social platforms to reach new audiences. Content produced for the Yoko Ono exhibition, including original audio and video interviews with Yoko Ono, generated over 5,000 views. The MCA also produced an online social media gallery of visitor’s photographs which added a fresh new way to share and talk about the exhibition experience.
Weavers from Yirrakala Art Centre, Northern Territory, image courtesy and © the artists
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MCA COLLECTION Artist Work Media The Tenderness of Rain 2011-2012 paper Lindy Lee Tearing 2011-2012 paper archive film with ultrachrome pigments Janet Laurence Selva Veil 2005 inks, aluminium brackets Projection on Clouds documentation, 16 Deborah Kelly, Alex Kershaw colour photograph, framed November 2005 2005 performance with object for the expiation single-channel digital video, colour, sound, of guilt (violence and grief remix) 1996 6min 1 sec Series of 12 soft ground etchings, hand Gordon Bennett 'How to Cross the Void' 1993 watercoloured Untitled 1989 acrylic and oil on canvas and collage Simryn Gill Untitled (Interior) II 2008 bronze Series of 12 archival pigments on rice First Jobs 2008 paper with gel medium Tracey Moffatt Invocations #1 – #13 2000 Series of 13 photo silkscreens Fourth #1 – #26 2001 Series of 26 photo silkscreens Johnny Bulunbulun, Northern Editions Printmaking Studio and Gotitj Wirrka 1999 Screenprint Gallery Robert Ambrose Cole, Tom Spirit II 1999 Screenprint Goulder Kitty Kantilla, Red Hand Prints Pumpuni Jilamara 1999 Screenprint Mick Kubarkku, Northern Editions Printmaking Studio and New Moon Full Moon 1999 Screenprint Gallery Queenie McKenzie, Northern Editions Printmaking Studio and Mingmarriya 1999 Etching Gallery Ada Petyarre, Tom Goulder Awelye 1999 Print Gloria Petyarre, Duck Print Arnkerrthe 1999 Screenprint Limited Editions Ginger Riley Munduwalawala Ngak Ngak 1999 Screenprint Rover Thomas, Basil Hall Editions Gunawaggi - Well 33 1999 Etching Ronnie Tjampitinpa, Duck Print Emu Dreaming Woodcut Limited Editions Turkey Tolson Tjupurrula, Duck Straightening the Spears 1999 Woodcut Print Limited Editions Judy Watson, Duck Print Limited Red Rock 1999 Lithograph Editions Gareth Sansom Jack's Back 2008 oil and enamel on linen The Garden (here small gestures make Emily Floyd wood, felt, beeswax, fabric, baked ink complex structures) 2012 Projection on Clouds documentation, Deborah Kelly colour photograph, framed October 2005 2005 Ildiko Kovacs Grey Pink 1991 oil on canvas Star Drawing 2005/2 (W + NW, 1- type C photograph 2/9/2005, Central Australia) 2005 Star Drawing 2005/3 (N + NE, 3- type C photograph 4/9/2005, Central Australia) 2005 David Stephenson Star Drawing 2006/2 (N + ESE + WSW, type C photograph 19/8/2006, Central Australia) 2006 Star Drawing 2006/3 (E + SSW + NNW, type C photograph 20/8/2006, Central Australia) 2006 gouache, oil stick, synthetic polymer paint Imants Tillers Victory over death (for Paul Taylor) 1992 on 66 canvas boards, nos.31929 - 31994 Franck Gohier, Red Hand Prints Screenprint series 2012 – 2013 20 screen prints
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PURCHASES FOR THE MCA COLLECTION Artist Work Media single-channel digital video, HD, Hayden Fowler New World Order 2013 colour, sound, 15min 17s an erased and inscribed magazine; shortwave broadcasts, Another Misspent Portrait of Etienne de talks and performances; a painted Christian Capurro Silhouette (AMPEdS) 1999-2014 object; a magazine in a library; photographs, posters, recordings, documents and ephemera watercolour, gouache and ink on Khadim Ali The Haunted Lotus 2011-2012 wasli paper, framed Canteen Creek at Last 2008 hand coloured screenprint Mother Dog and New Pups 2008 hand coloured screenprint Three Angry Cows 2008 hand coloured screenprint One Angry Bull 2008 hand coloured screenprint The Grey Donkey 2008 hand coloured screenprint Animals from Overseas - Running 2011 soft ground etching, aquatint Lion Chase 2011 soft ground etching, aquatint Dog Police 2011 lithograph Buffalo and Cats 2011 lithograph Fenced-in dog 2010 etching Dion Beasley Cycle of a dog's life 2010 etching Dogs and a piece of meat 2010 etching The fight 2010 etching Dogs barking at two horses and a donkey 2010 etching Mulga Camp 2010 etching Dog Chase 2010 etching Animals that live overseas 2011 etching Dogs barking at a donkey 2010 etching Angry ones 2010 etching Grandfather's dog meets dog on lead 2010 etching After the fight 2010 etching single-channel digital video, Kate Mitchell Getting Through It 2012 colour, sound, 28min 1s Gordon Bennett Abstraction (Native) 2013 Acrylic on linen Acrylic, gouache on 288 canvas Imants Tillers Tabula Rasa (for my father) 2011 boards, no. 87889 - 88176 Judith Wright Relative Conversations 2006 acrylic on Japanese paper Proposition for a banner march and a black 100 prints Tom Nicholson, Rafaat Ishak cube hot air balloon 2003-2012 Tom Nicholson Untitled wall drawing 2009-2012 pencil on gallery wall Naomi Kanturiny, Tjanpi Desert Kurri Ngaltajarra (poor husband) from (minarri) native grass, acrylic Weavers, Ilawanti Ken NGANGKARI TJUKURPA 2013 wool, raffia, emu feathers Native grasses, found fencing Tjanpi Desert Weavers, Nyurpaya wire, aviary mesh, textile, acrylic Kaika, Ilawanti Ken, Niningka Lewis, MINYMA PUNU KUNGKARANGKALPA pilow stuffing, yarn, string, twine, Mary Pan, Tjungkaya Tapaya, Carlene (seven sisters) 2013 raffia, plastic bagging, feathers, Thompson, Yaritji Young wool, tree branches, foam, piping Lipaki Marlypa Raki [21 lengths of string, some with feathers]2013 handmade string, feather banyan tree bark, cockatoo Frances Djulibing Yukuwa (Feather string yam vine) 2013 feathers, beeswax Dhundunga Mununngurr Raki [13x pieces on spindles] 2013 hand made string, wood, feathers Dale Harding bright eyed little dormitory girls 2013 hessian sacks, mohair wool abhoriginal 2011 etching on paper lynching 2011 etching on paper lynching (unbecoming) 2011 etching on paper intervention invention 2011 etching on paper Vernon Ah Kee willilive 2011 etching on paper mediochre 2011 etching on paper unwritten (becoming) 2011 etching on paper unwritten (unbecoming) 2011 etching on paper abc 2011 etching on paper unwritten 2011 lithograph 20 MCA Annual Review 2013 Curatorial and Digital
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 we connect with children, adults and people with special needs through a wide range of activities in and beyond the galleries. Our dynamic programs are conceived to provide rich and engaging experiences with original AUDIENCES and contemporaryCREATIVE LEARNINGartwork and encourage risk-taking, experimentation, and new ways of thinking; essential ingredients for creativity.
The MCA’s world class exhibition, learning and outreach programs aim to inspire Australians from all backgrounds Our innovative, multi-channel communications tools share the MCA’s to engage with contemporaryactivities art and and aspirations artists through with visitorsthe and the wider local, national and National Centre for Creativeinternational Learning. communities,Each year we showcasing the MCA, Sydney and Australia as connect with children,a adultsvibrant and cultural people hub. with special needs through a wide range of activities in and beyond the galleries. Our dynamicIn programs 2013, nearly are conceived72,000 people to provide participated in NCCL programs, over 86,000 rich and engaging experiencesparticipated with in original MCA creative contemporary learning activities and over 95,000 people accessed MCA learning programs and facilities. artwork and encourage risk-taking, experimentation, and new ways of thinking; essential ingredients for creativity.
Our innovative, multi-channel communications programs share the MCA’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.
Family activity in the MCA, Featured: Robert Owen, Sunrise #3, 2005, acrylic on wall, MCA, purchased 2005, installation view, MCA Collection, 2013, image courtesy and © the artist, photograph: Lucy Parakhina 21 MCA Annual Review 2013 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 40,000 participants have engaged in ARTBAR, Public Programs, ATSI, Kids and Families and Youth programs in 2013, 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 5,500 attendees across 11 events in 2013!) for audiences over 18; — Art Play, a new, weekly, drop-in program created for under 5s to experience art in the multi- sensory Bella Room (an artist-commissioned space); — the annual Zine Fair attended by over 3,000 people; — the introduction of Junior Art School, a hands-on creative school holiday program for primary school age children; — exhibition and artist-related film screenings in the Veolia Lecture Theatre, including a series of films by Aboriginal and Torres Strait Islander filmmakers during NAIDOC week; — regular Auslan and Audio-described tours for hearing- and vision-impaired visitors; — monthly creative carnivals with over 4,000 kids and families at Sunday Family Fun Days in 2013; — the weekly Lights on Later powered by GE 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; and — artist talks and symposiums including the sold-out Yoko Ono in conversation with Rachel Kent at Sydney Opera House.
Over 88 exhibiting artists contributed to these programs and 157 guest speakers and 176 performers comprising non-exhibiting artists, curators, writers, musicians and experts in their chosen fields looked at a wide range of ideas around contemporary art and the exhibitions.
Program Type No of Programs No of participants
Adult Public Programs 237 25,511
Kids & Families 108 12,128
Youth 15 2,741
Next page, Rizilli, What You See, 2013 performance documentation, ARTBAR – Curated by Keg de Souza, 31 May 2013, image courtesy and © the artist, photograph: Michael Wholley
22 MCA Annual Review 2013 Audience Engagement
23 MCA Annual Review 2013 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.
2013 HIGHLIGHTS — 15% increase in overall Education attendance. — 40% increase in bookings for learning programs led by MCA Artist Educators. — Digital Excursions went international making connections with students in Korea. — Development of the Art Write Now: Creative Writing and Contemporary Art program, targeting the development of literacy skills through engagement with artworks. — Two professional development conferences for teachers presented in partnership with the Sydney Opera House and Accessible Arts, and Sydney’s leading cultural organisations, including Sydney Theatre Company, Sydney Dance Company, Bell Shakespeare, the Sydney Symphony Orchestra and Australian Theatre for Young People.
Ashcroft Primary School students on a Gallery Exploration. Fairvale High School students on a Gallery Exploration Featured: Laurie Featured: Ah Xian, China China – Bust 81, 2004, glazed porcelain, Nilsen, Baited, 2010, 6 fan covers, electrical wire, sunlight soap, installation MCA, gift of the artist, 2008, MCA Collection, 2013, image courtesy view, string theory: Focus on contemporary Australian art, MCA, 2013, and © the artist image courtesy and © the artist, photograph: Adam Hollingworth
Program Type No of Institutions No of participants Pre-school 10 309 Primary 70 2,962 Secondary 354 11,671 Tertiary 86 2,205 ESL 45 859 Special Interest 77 1,770 Bella 90 1,584 Total Education 21,360
24 MCA Annual Review 2013 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.
Throughout 2013, new programs for adults with specific needs were trialled, including the Bella Plus Connect program, an inter-service Bella program which provides important opportunities for participants to meet new people from outside their service, within the supportive environment of the Bella Program. An extension of this program was offered as part of International Day of People with Disability celebrations, with over 120 participants from different services taking part.
The Bella Program partnered with Accessible Arts to present two forums, one with the Supported Studio Network Forum for artists with disability, and another supporting teachers of students with special needs to develop creative learning experiences in the classroom.
Hiromi Tango, Dance 2013, installation view, fabric, wool, neon, digital Installation view, string theory: Focus on contemporary Australian art, media, commissioned by the MCA for the Jackson Bella Room, 2013, MCA, 2013, image courtesy and © the artist, photograph: Alex Davies image courtesy and © the artist, photograph: Leo Bonne
VISITOR EXPERIENCE
Program Type No of Programs No of participants
Guided Tours 814 7,965
Spotlight Talks 259 1,693
Volunteer-guided tours and talks by MCA Hosts continued to enhance the visitor experience throughout 2013. 34 dedicated volunteers, who generously give their time and expertise, offered regular free guided tours for nearly 8,000 attendees in 2013. 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 nearly 1,700 visitors attended these talks.
25 MCA Annual Review 2013 Audience Engagement
COMMUNICATIONS
Following a standout re-opening year in 2012, the objectives of MCA Communications in 2013 were to continue to — reach out to new and existing audiences through print and digital communications, advertising and social media to communicate the MCA’s offering, deepen engagement, maintain general visitation and sell tickets to exhibitions and events; and to — generate national and international awareness of the MCA brand.
During 2013, print materials were reviewed and refreshed to streamline process, reduce expenditure, provide an improved visitor and user experience and better align with the MCA tone of voice. Now, instead of picking up 3 separate brochures on entry, visitors are able to pick up one complete guide to their experience.
General visitor numbers to the MCA were maintained at post re-opening levels and exhibition, touring programs and creative learning programs audiences all increased, pointing to deeper engagement with audiences and improved messaging.
On 1 March 2013, the MCA welcomed our 1 millionth visitor in less than a year since reopening with a performance work by artist Jess Oliveri, For Whom The Bell Tolls (2013). When the 1,000,000th visitor entered the building, all screens switched to a ‘1,000,000 visitors’ message, an announcement was made and MCA staff rang hand bells. This significant milestone generated extended media coverage.
MCA Director Elizabeth Ann Macgregor OBE, artist Jess Olivieri and MCA staff with Madeleine Frith, the 1,000,000th visitor to the MCA. Featured: Helen Eager, Tango 2012, synthetic polymer paint on wall, MCA, commissioned on the occasion of the opening of the new MCA, 2012, image courtesy and © the artist, photograph: Tito Media.
Major communication campaigns were conducted around exhibitions and commissions (with strong results around Embedded: Craig Walsh, Primavera 2013 and the Sydney International Art Series), public programs (with a focus on ARTBAR, Kids & Families programs and C3West) and corporate announcements (new board members, new sponsors, etc) with an increased focus on social media.
Digital audiences and engagement continued to grow throughout the year, with a 40% increase in Twitter followers, a 36% increase in MCA eNews subscribers, a 65% increase in Facebook fans and a 2,208% increase in YouTube views (a result of creating dedicated digital campaigns).
26 MCA Annual Review 2013 Audience Engagement
DEVELOPMENT & ENTERPRISES
The organisation restructure brought together all of the income generating areas of the MCA under the umbrella of Development and Enterprises. Income generated through corporate and individual support, sales from the MCA Store and commercial hire of the MCA Venues generated nearly 60% of revenue in 2013.
MCA Store, photograph: Tito Media 27 MCA Annual Review 2013 Development and Enterprises
DEVELOPMENT AND ENTERPRISES
Following a record year in 2012, both fundraising and commercial activities each achieved a 30% increase over 2012 income levels.
In 2013, members were able to enjoy free unlimited entry to two ticketed exhibitions, with Anish Kapoor continuing until 1 April and War is Over! (If You Want It): Yoko Ono commencing on 15 November. This contributed to a record 941 new members joining the MCA. We also welcomed 59 new Young Ambassadors and 33 new Ambassadors.
Members, Young Ambassadors and Ambassadors enjoyed a range of activities throughout the year, including exhibition previews and tours, artist talks, and external gallery and studio visits and an international tour.
The annual Bella Dinner continues to be a highlight of the fundraising calendar. The 2013 event raised over $250,000 for the MCA’s learning programs, and in particular, the annual Bella Room Commission. MCA Young Ambassadors held a new fundraising event, MCA Social, where over $40,000 was raised for the Primavera 2013 exhibition.
Demand for commercial hire of the beautiful MCA venues continues to be strong from both the corporate and private sectors. The MCA Store continues to collaborate with Australian artists to produce unique collectible mementos including postcards, lens cloths and a stunning set of limited edition cards featuring works from the MCA Collection. In 2013 eight MCA publications were produced providing more in-depth curatorial context for visitors and scholars. In total, MCA commercial activities contributed over 15% of the MCA’s income in 2013.
Young Ambassasdors event, Featured: Bella Dinner guests purchase glasses of Harbourside Room, one of MCA’s spectacular Rosalie Gascoigne, Tiger Tige,r 1987, Pommery champagne to raise money for the rooftop venues, set up for a corporate dinner reflective material, wood, Museum of Bella Room Commission and creative learning Contemporary Art, gift of Loti Smorgon AO projects and Victor Smorgon AC , 1995, image courtesy and © the artist
28 MCA Annual Review 2013 Development and Enterprises
Corporate sponsorship relationships continue to be vital to the MCA, ensuring funding stability and assisting with the MCA’s audience engagement ambitions. Relationships continued with all of our Major Partners from 2012 and in addition we welcomed EY (Supporting Sponsor War Is Over! if you want it: Yoko Ono) and Crowe Horwath (Ambassador Program Partner) to this group.
In-kind support continued to help the MCA achieve our technology, communications and service ambitions. In 2013, Channel 7 joined this group as Media Partner.
Income from Corporate Members and grants from Trusts and Foundations continue to support activity and projects throughout the MCA, including genext (the quarterly teenage takeover of the Museum) and Primavera, the annual exhibition of work from emerging artists.
29 MCA Annual Review 2013 Development and Enterprises
MUSEUM OF CONTEMPORARY ART LIMITED
Financial Report for the Year Ended 31 December 2013
CONTENTS
31 Directors' report
39 Auditor's independence declaration
40 Financial Statements 40 Statement of comprehensive income 41 Statement of financial position 41 Statement of changes in equity 42 Statement of cash flows 43 Notes to the financial statements
55 Directors' declaration
56 Independent auditor's report
The financial statements were authorised for issue by the directors on 6 May 2014. The directors have the power to amend and reissue the financial statements.
The financial statements are presented in Australian currency.
30 MCA Annual Review 2013 Financial Report
DIRECTOR'S REPORT
The directors of the Museum of Contemporary Art Limited (MCA or the Company) present their report for the year ended 31 December 2013.
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) Lisa Paulsen Sarah Morgan Doug Dean AM Lachlan Murdoch Geoff Dixon Rosemary Laing (Resigned: 30 October 2013) Ari Droga Katie Page Scott Perkins Elizabeth Ann Macgregor OBE Hetti Perkins Susan Norrie (Appointed: 17 December 2013)
Company Secretary: Anh Thi Do
31 MCA Annual Review 2013 Financial Report
MISSION STATEMENT The MCA’s vision is to be recognised nationally and internationally as a leader in exhibiting, collecting and interpreting contemporary art, with artists at the heart of the Museum.
SHORT-TERM AND LONG-TERM OBJECTIVES — To contribute significantly to building a creative Australia. — To develop the MCA’s reputation for excellence through ambitious programming; expanding collections; adventurous touring; imaginative artist collaborations and creative learning opportunities. — To engage artists, audiences, donors and sponsors with diverse offerings and options for access, both physical and intellectual. — To be a model for others through operational effectiveness and innovative approaches to sustainability.
STRATEGIES The Company has adopted a number of strategies to achieve the above objectives:
— continued increase in the quality of programs, visitor experience and profile locally, nationally and internationally; — continued presentation of challenging and engaging exhibitions, including touring and artist commissions; — continued engagement with the education sector by offering school learning programs; — continued engagement with the wider public sector through informal education programs including artists talks, lectures and workshops, including the Bella workshops for students with special needs; — taking an entrepreneurial approach to strengthening the MCA's financial base and ensuring best practice governance and financial management; — maintaining tight expenditure controls and ensuring that revenues are sufficient for the Company to carry out its business; and — continuing an active engagement with a wide variety of partners: governmental, corporate and individuals, to ensure the Company can achieve sustainability and growth.
32 MCA Annual Review 2013 Financial Report
PRINCIPAL ACTIVITIES The principal activities of the Company undertaken during the year in pursuit of the short and long term objectives were: — delivery of 11 contemporary art exhibitions and 4 touring exhibitions, with 894,876 on-site exhibition visitors; — 7 Artworks commissioned comprising 3 building commissions, 3 C3 West projects and an artist in residence commission for the National Centre for Creative Learning; — 95,820 participants in education programs and activities including 21,360 students in formal schools programs; — major organisational restructure completed, laying the foundation for future growth and efficiencies; and — 30% increase in commercial business income to support the Company's objectives.
There were no changes in the principal activities of the Company throughout the year.
KEY PERFORMANCE MEASURES Performance indicators for the Company are: — Numbers and mix of exhibitions and displays, including consistent representation of Australian content within the program, and the success of the program in reflecting the needs of artists while engaging existing and new audiences. — 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. — The development of the MCA collection and related information and interpretation as an asset driving the artistic program and an education resource about Australian artists. — 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. — A strong team and Board, with clear succession arrangements in place, positive satisfaction rates and low turnover. — The ongoing identification and management of risk. — Providing visitors and staff with well maintained, efficient and safe facilities.
33 MCA Annual Review 2013 Financial Report
DIRECTORS' QUALIFICATIONS AND EXPERIENCE
DIRECTOR QUALIFICATIONS EXPERIENCE
Philanthropist, Corporate adviser and member Simon Mordant AM Fellow Chartered Accountant of numerous Boards and Councils locally and internationally
Lisa Paulsen Bachelor of Arts, UNSW Art collector
Bachelor of Engineering (Hons), Sarah Morgan Corporate Adviser MBA, Post Dip Cont Art
Bachelor of Commerce, FCPA, Doug Dean AM Chairman, Veolia Environment FAIM
Bachelor of Arts, Philosophy Lachlan Murdoch Non executive Co Chair of News Corporation Princeton University
Company Director and Chairman of the Garvan Geoff Dixon Research Foundation
Master of Fine Arts, Rosemary Laing Artist University of Sydney
BA (Syd Uni), LLB (Syd Uni), Head of Australasia, Global Infrastructure Ari Droga LLM (Cambridge Uni) Partners
MFA (Hons) CoFA UNSW; Grad Katie Page CEO, Harvey Norman Dip SCA, Sydney Uni
Bachelor of Commerce and a Scott Perkins Company Director and Corporate Advisor Bachelor of Laws (Hons)
Elizabeth Ann MA History of Art (Hons), Post Director, Museum of Contemporary Art Macgregor OBE Dip Mus and Gal Studies
Hetti Perkins Bachelor of Arts UNSW Resident Curator, Bangarra Dance Theatre
PhD Havoc, UNSW APA, UNSW Artist: represented Australia at the 52nd Venice Susan Norrie Adjunct Professor Biennale,2007
34 MCA Annual Review 2013 Financial Report
DIRECTORS' RESPONSIBILITIES
DIRECTOR RESPONSIBILITIES
Simon Mordant AM Chairman of the Board, Member of the Nominations Committee
Member of the Board, Member of the Nominations Committee, Chair Lisa Paulsen of the Director's Circle, Ambassador recruitment
Sarah Morgan Member of the Board, Member of the Finance Committee
Doug Dean AM Member of the Board, Chairman of the Finance Committee
Lachlan Murdoch Member of the Board
Geoff Dixon Member of the Board, Member of the Nominations Committee
Rosemary Laing Member of the Board
Member of the Board, Member of the Nominations Committee, Ari Droga Chairman of the MCA Foundation
Katie Page Member of the Board
Scott Perkins Member of the Board, Member of the Finance Committee
Member of the Board, Member of the Nominations Committee, Elizabeth Ann Macgregor OBE Member of the Finance Committee
Hetti Perkins Member of the Board, Chair of the Indigenous Advisory Panel
Susan Norrie Member of the Board, Chair of the Artist Advisory Panel
35 MCA Annual Review 2013 Financial Report
MEETINGS OF DIRECTORS During 2013, six meetings of directors were held. Attendances by each director were as follows:
DIRECTORS' MEETINGS
DIRECTOR NUMBER ELIGIBLE TO ATTEND NUMBER ATTENDED
Simon Mordant AM 6 6
Lisa Paulsen 6 6
Sarah Morgan 6 6
Doug Dean AM 6 6
Lachlan Murdoch 6 3
Geoff Dixon 6 3
Rosemary Laing 5 4
Ari Droga 6 6
Katie Page 6 4
Scott Perkins 6 5
Elizabeth Ann Macgregor OBE 6 5
Hetti Perkins 6 2
FINANCE COMMITTEE MEETINGS
DIRECTOR NUMBER ELIGIBLE TO ATTEND NUMBER ATTENDED
Sarah Morgan 6 5
Doug Dean AM 6 5
Scott Perkins 6 6
Elizabeth Ann Macgregor OBE 6 4
36 MCA Annual Review 2013 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.
Operations for the year ended 31 December 2013, resulted in a surplus of $538,065 [2012: deficit of $2,305,333].
The operating result is revenue from operational activities plus interest received, less expenses excluding Building depreciation and amortisation.
The operating surplus is reconciled to the statutory results as follows:
2013 ($) 2012 ($)
Operating surplus /(deficit) 538,065 (2,305,333)
Gifts of works of art, acquisition and foundation fund 968,058 1,451,750
Capital building funding including interest received 1,152,092 3,533,088
Building depreciation and amortisation (2,116,792) (1,562,089)
Statutory net surplus for the year 541,423 1,117,416
37 MCA Annual Review 2013 Financial Report
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 ($20.00). There were 12 members in 2013 [2012: 12 members].
AUDITOR INDEPENDENCE The directors received an independence declaration from the auditor, Crowth Horwath [2012: PriceWaterhouseCoopers]. A copy has been included with this Annual Report.
This directors' report is signed in accordance with a resolution of the Board of Directors.
………………………………….. Simon Mordant Chair
Sydney, 6 May 2014
38 MCA Annual Review 2013 Financial Report
AUDITOR'S INDEPENDENCE DECLARATION
39 MCA Annual Review 2013 Financial Report
AUDITOR'S REPORT
STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOME For the year ended 31 December 2013 Note 2013 ($) 2012 ($)
REVENUE
Revenue from Operating activities
Exhibition and Creative Learning income 1,921,535 279,769
Corporate and Individual Support 4,356,522 3,276,775
Grant income 15 4,661,080 4,624,301
Commercial income 8,477,543 6,590,336
Subtotal revenue from Operating Activities 19,416,680 14,771,181
Revenue from outside operating activities plus interest received
Gifts of works of art, acquisition and foundation fund 968,058 1,451,750
Capital building funding including interest received 1,152,092 3,533,088
Interest received 198,773 226,506
Subtotal revenue outside operating activities 2,318,923 5,211,344
TOTAL REVENUE 21,735,603 19,982,525
EXPENSES
Depreciation & amortisation expenses (316,574) (398,703)
Building depreciation & amortisation (2,116,792) (1,562,090)
Employee benefits expense (7,139,958) (6,479,590) Exhibition, creative learning and commissions project (4,943,164) (5,040,069) costs Repairs & maintenance, insurance, security and utilities (3,427,581) (2,586,714)
Cost of goods sold (1,151,065) (849,614)
Other expenses (2,099,046) (1,948,329)
TOTAL EXPENSES (21,194,180) (18,865,109)
Surplus before income tax 541,423 1,117,416
Income tax expense 2 - -
Surplus for the year 541,423 1,117,416
Other comprehensive income - -
TOTAL COMPREHENSIVE INCOME FOR THE YEAR 541,423 1,117,416
The above statement of comprehensive income should be read in conjunction with the accompanying notes.
40 MCA Annual Review 2013 Financial Report
STATEMENT OF FINANCIAL POSITION As at 31 December 2013 Notes 2013 ($) 2012 ($) CURRENT ASSETS Cash and cash equivalents 1(M) 5,170,390 3,932,527 Trade and other receivables 3 2,153,662 1,197,445 Inventories 4 349,727 325,852 Prepayments 5 71,989 129,251 TOTAL CURRENT ASSETS 7,745,768 5,585,075
NON-CURRENT ASSETS Property, plant and equipment 6 54,316,116 56,222,423 Works of Art 6 15,472,680 14,436,492 TOTAL NON-CURRENT ASSETS 69,788,796 70,658,915
TOTAL ASSETS 77,534,564 76,243,990
CURRENT LIABILITIES Trade and other payables 7 2,301,642 2,456,117 Provisions 8 273,146 425,473 Income in advance 9 3,240,329 1,984,444 TOTAL CURRENT LIABILITIES 5,815,117 4,866,034
NON CURRENT LIABILITIES Trade and other payables 10 - 450,000 Provision for long service leave 250,068 - TOTAL NON CURRENT LIABILITIES 250,068 450,000
NET ASSETS 71,469,379 70,927,956
MEMBERS' FUNDS Retained Surplus 11 71,469,379 70,927,956 TOTAL MEMBERS' FUNDS 71,469,379 70,927,956
The above statement of financial position should be read in conjunction with the accompanying notes.
STATEMENT OF CHANGES IN EQUITY For the year ended 31 December 2013 Notes 2013 ($) 2012 ($) TOTAL EQUITY AT THE BEGINNING OF THE FINANCIAL YEAR 70,927,956 69,810,540 Total comprehensive income for the year 11 541,423 1,117,416 TOTAL EQUITY AT THE END OF THE FINANCIAL YEAR 71,469,379 70,927,956
The above statement of changes in equity should be read in conjunction with the accompanying notes.
41 MCA Annual Review 2013 Financial Report
STATEMENT OF CASH FLOWS
Notes 2013 ($) 2012 ($) For the year ended 31 December 2013 CASH FLOWS FROM OPERATING ACTIVITIES Funding and operational receipts (inclusive of goods and services tax) 22,405,658 20,312,955 Payments to suppliers and employees (inclusive of goods and services (20,905,935) (20,021,724) tax) Interest received 149,294 209,794 NET CASH INFLOW/(OUTFLOW) FROM OPERATING ACTIVITIES 1,649,017 501,025
CASH FLOWS FROM INVESTING ACTIVITIES Capital building funding receipts in relation to the MCA redevelopment 1,152,092 3,396,073 Interest income in relation to capital building funding - 137,015 Payments for property, plant & equipment (1,563,246) (12,929,740) Proceeds from sale of fixed assets - 40,000 NET CASH OUTFLOW FROM INVESTING ACTIVITIES (411,154) (9,356,652)
NET DECREASE IN CASH & CASH EQUIVALENTS 1,237,863 (8,855,627)
Cash & cash equivalents at the beginning of the year 3,932,527 12,788,154 CASH & CASH EQUIVALENTS AT THE END OF THE YEAR 5,170,390 3,932,527
The above statement of cash flows should be read in conjunction with the accompanying notes.
42 MCA Annual Review 2013 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 2013 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 2013.
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.
43 MCA Annual Review 2013 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.
44 MCA Annual Review 2013 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 eventsor changes in circumstances indicate that the carrying amount may not be recoverable. An impairmentloss 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.
45 MCA Annual Review 2013 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 3 - 5 Years Motor Vehicles 5 Years Books and Publications 5 Years Furniture and Fittings 2 - 9 Years Computer Equipment 3 - 5 Years Works of Art Refer 1 (J) Building 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.
46 MCA Annual Review 2013 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.
(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.
47 MCA Annual Review 2013 Financial Report
(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 2013 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.
(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
48 MCA Annual Review 2013 Financial Report 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 2013 ($) 2012 ($) Trade Receivables 2,049,950 930,020 Other Receivables (*) 103,712 267,425 2,153,662 1,197,445 (*) These amounts generally arise from transactions outside the usual operation activities of the Company.
4 CURRENT ASSETS - INVENTORIES Notes 2013 ($) 2012 ($) Finished goods 1(N) 499,727 373,188 Less: Provision for Stock Write-down and Obsolescence (150,000) (47,336) 349,727 325,852
49 MCA Annual Review 2013 Financial Report
5 CURRENT ASSETS - PREPAYMENTS Notes 2013 ($) 2012 ($) Other 71,989 129,251 71,989 129,251
6 NON-CURRENT ASSETS - PROPERTY, PLANT, EQUIPMENT AND WORKS OF ART Notes 2013 ($) 2012 ($) Leasehold Improvements, at cost - (see note 1 above) 1(I) 1,561,508 2,046,469 Less: Accumulated Depreciation 1(H) (80,842) (612,013) NET BOOK VALUE 1,480,666 1,434,455
Plant & Equipment, at cost 784,880 693,437 Less: Accumulated Depreciation (575,834) (405,220) NET BOOK VALUE 209,046 288,217
Works of Art, at cost 1(J) 15,472,680 14,436,492 Less: Accumulated Depreciation 1(H) - - NET BOOK VALUE 15,472,680 14,436,492
Books & Publications, at cost 1(K) 113,822 113,822 Less: Accumulated Depreciation 1(H) (113,822) (113,822) NET BOOK VALUE - -
Furniture & Fittings, at cost 984,428 958,323 Less: Accumulated Depreciation (652,952) (588,462) NET BOOK VALUE 331,476 369,861
Computer Equipment, at cost 444,853 411,582 Less: Accumulated Depreciation (350,093) (283,950) NET BOOK VALUE 94,760 127,632
Motor Vehicle, at cost 73,936 73,936 Less: Accumulated Depreciation (66,206) (57,773) NET BOOK VALUE 7,730 16,163
PP & E - Building Development 55,803,167 55,532,362 Less: Accumulated Depreciation (3,610,728) (1,546,267) NET BOOK VALUE 52,192,438 53,986,095
TOTAL PROPERTY, PLANT & EQUIPMENT 69,788,796 70,658,915
50 MCA Annual Review 2013 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: Improve Leasehold &Equipment Plant Art of Works Publications &Fittings Equipment Vehicle Development Building Books & Books Furniture Computer Motor &E PP Total - ments
$ $ $ $ $ $ $ $ $
Balance at the beginning of 1,434,455 288,217 14,436,492 - 369,861 127,632 16,163 53,986,095 70,658,915 the year
Additions at 105,438 91,443 1,036,188 - 26,104 33,271 - 270,804 1,563,248 cost
Write off ------
Disposal - -
Depreciation/ Amortisation (59,227) (170,614) - - (64,489) (66,143) (8,433) (2,064,461) (2,433,366) expense
Carrying amount at the 1,480,666 209,046 15,472,680 - 331,476 94,761 7,730 52,192,438 69,788,796 end of the year
7 CURRENT LIABILITIES - TRADE AND OTHER PAYABLES Notes 2013 ($) 2012 ($) Trade Payables 1,000,564 953,689 Other Payables 937,419 1,121,480 Building Development costs - accrual - - Provision for annual leave 363,659 380,948 2,301,642 2,456,117
8 CURRENT LIABILITIES - PROVISIONS Notes 2013 ($) 2012 ($) Provision for sponsor benefits 10,000 10,000 Provision for long service leave 1(F) 263,146 415,473 273,146 425,473
Employee numbers Average number of employees during the financial year 106 95
51 MCA Annual Review 2013 Financial Report
9 CURRENT LIABILITIES - INCOME IN ADVANCE Notes 2013 ($) 2012 ($) Income in Advance 2,616,413 1,539,282 Income in Advance: grant 15 623,916 445,162 3,240,329 1,984,444
10 NON CURRENT LIABILITIES - TRADE AND OTHER PAYABLES Notes 2013 ($) 2012 ($) Other Payables - payable to Watpac 31/12/14 - 450,000 Provision for long service leave 250,068 - 250,068 450,000
11 RETAINED SURPLUS Notes 2013 ($) 2012 ($) Retained surplus at the beginning of the financial year 70,927,956 69,810,540 Total comprehensive income for the year 541,423 1,117,416 RETAINED SURPLUS AT THE END OF THE FINANCIAL YEAR 71,469,379 70,927,956
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, Katie Page, Scott Perkins, Elizabeth Macgregor and Hetti Perkins. Susan Norrie was appointed as a director on 17 December 2013. Rosemary Laing was a director until her retirement on 30 October 2013.
(ii) Key management personnel Key management personnel compensation for the years ended 31 December 2013 and 2012 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 ($)
2013 1,060,251
2012 1,008,327
There were no other transactions with key management personnel during the year ended 31 December 2013 (2012: nil).
13 ECONOMIC DEPENDENCY The MCA is partially funded by the NSW Government through Arts NSW.
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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 (i) Arts NSW Grants totalling $3,573,090 [2012: $3,563,090] were received from Arts NSW for the period from January to December 2013.
The detail of the grant received is as follow: — Grant for general running costs $3,563,090 — Grant for Lloyd Rees lecture $10,000
(ii) Australia Council Grants totalling $828,393 [2012: $644,840] were received from the Australia Council for the period from January to December 2013. A grant of $252,091 was received in advance from Australia Council for 2014.
The details of grants received are as follows: — VAC KO and VAB KO Grant of $562,946 — Grant for C3 West project $168,146 in 2013 and $252,091 in advance relating to 2014 — Grant for Ann Lewis lecture $5,243 in 2012 and $24,757 in advance relating to 2013 — Grant for Taboo of $36,000 — Grant for Curatorial Fellowship $36,544
(iii) Visions of Australia Grants totalling $36,178 [2012:$58,788] were received from Visions of Australia for the period from January to December 2013. A grant of $177,134 was also received in advance for 2014 from Visions of Australia.
The details of the grants received are as follows: — Grant for Video in the box tour of $61,900: $24,788 in 2012, $23,763 in 2013 and $13,349 in 2014 — Grant for Remain in Light tour of $176,200: $12,415 in 2013 and $163,785 in 2014
(iv) Other grants Grants totalling $223,419 [2012: $357,583] were received for the period from January to December 2013.
The details of grants received are as follows: — Hurstville City Council grant for C3 West Project of $23,000: $8,054 in 2012, $10,904 in 2013 and $4,042 in 2014 — Campbelltown City Council grant for C3 West Project of $54,000: $20,452 in 2012 and $33,548 in 2014 — Western Sydney Parkland Trust grant for C3 West Project of $200,000: $58,724 in 2012, $28,518 in 2013 and $112,758 in 2014 — Newcastle Now grant for C3 West Project of $2,235 — Embassy of France grant of $2,161 for C3 West project — Nelson Meers Foundation grant of $50,000 for Primavera project: $36,659 in 2013 and $13,341 in 2014
53 MCA Annual Review 2013 Financial Report
— CAL grant of $35,450 for Artist Voice project: $15,257 in 2012 and $20,193 in 2013 — The Trust Foundation grant of $45,455 for Community Organisation Programs: $11,206 in 2012 and $34,249 in 2013 — Sydney Harbour Foreshore Authority grant of $50,000 for Unearthing The Rocks digital project — College of Fine Arts grant of $70,002 for digital media position: $35,000 in 2013 and $35,002 in 2014 — Destination NSW grant of $3,500 for Vivid MCA Education Program
16 CONTINGENT LIABILITIES The Company does not have any contingent liabilities at 31 December 2013.
17 LEASING ARRANGEMENT (a) Company as lessee Operating leases Commitments for minimum lease payments in relation to non-cancellable operating leases are payable as follows: Notes 2013 ($) 2012 ($) Within one year - 43,071 Later than one year but not later than 5 years - - Later than 5 years - - - 43,071
(b) Company as lessor Operating leases Future minimum lease payments expected to be received in relation to non-cancellable operating leases are as follows: Notes 2013 ($) 2012 ($) Within one year 3,503,529 3,294,084 Later than one year but not later than 5 years 12,473,569 13,730,046 Later than 5 years 39,962,232 42,209,284 55,939,330 59,233,414
18 FINANCIAL RISK MANAGEMENT The Company's financial instruments consist mainly of deposits with banks, accounts receivable and payable. Note 2013 ($) 2012 ($) FINANCIAL ASSETS Cash and cash equivalents 1(M) 5,170,390 3,932,527 Loans and receivables 3 2,153,662 1,197,445 TOTAL FINANCIAL ASSETS 7,324,052 5,129,972
FINANCIAL LIABILITIES Financial liabilities at amortised cost: - Trade and other payables - current 7 2,301,642 2,456,117 - Trade and other payables - provisions 8 273,146 425,473 - Trade and other payables - non-current 10 250,068 450,000 TOTAL FINANCIAL LIABILITIES 2,824,856 3,331,590
54 MCA Annual Review 2013 Financial Report
DIRECTORS' DECLARATION For the year ended 31 December 2013
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 2013 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, 6 May 2014
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56 MCA Annual Review 2013 Financial Report
Stephen Birch Untitled, 2005, polyurethane, synthetic polymer paint, fibreglass, acrylic hair and eyes, Museum of Contemporary Art, gift of the Estate of Stephen Birch, 2008, Image courtesy and57 © the artist’s estate