o make his 2012 video-artwork , which is the earliest work in Nicholas Mangan’s mid-career survey at the Museum of Contemporary Art (MCA), the artist needed a really high-speed camera. The video shows fine rock particles (dust, really) falling in high-definition, so that every crag and every cranny is on display. The only suitable camera Mangan could find in Melbourne was a rig set up to film car crash tests. To capture the footage of red rocks floating serenely down the screen—each fleck of dust appearing
