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New promotional image for Sì Le Parfum

The first promotional image for Sì Le Parfum appeared on iLuxus at the beginning of the month, but we totally missed it. Enjoy!


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July 28th, 2016
MLS

Cate Blanchett to deliver artists’ manifestos at Park Avenue Armory in New York

Manifesto news!

The Park Avenue Armory’s Drill Hall, which has seen many a regiment of National Guard soldiers practice military manoeuvres, will serve as a fitting platform for the premier of Manifesto (2015), the multi-screen film installation by the German filmmaker Julian Rosefeldt. The project, on view from 7 December to 8 January 2017, stars the Academy Award-winning actress Cate Blanchett, who channels more than 50 artistic calls to action through 13 monologues that draw on the writings of artist groups throughout the 20th century, such as the Dadaists, Futurists and Fluxus artists.

There is a textual collage that accompanies the film installation with quotations from the philosophies of artists such as Kazimir Malevich, Claes Oldenburg and Sol LeWitt, among others. In a prologue that is a nod to the political tradition of manifestos, viewers are presented with an image of a burning fuse as Blanchett recites perhaps the most famous example—the Manifesto of the Communist Party written by Karl Marx and Friedrich Engels and originally published as a pamphlet in 1848

via The Art Newspaper

July 28th, 2016
Nelly

Voyage of Time to compete at the 73rd Venice International Film Festival

Great news! The documentary narrated by Cate Blanchett will premiere at the 73rd Venice International Film Festival, which takes place from August 31th to September 10th in Italy, where the movie will compete for the Golden Lion. The official calendar will be revealed next week.

via La Biennale

July 28th, 2016
MLS

Sì – One year of Intensity with Cate Blanchett

Yesterday, Giorgio Armani Beauty Channel on You Tube released a video entitled “Sì – One year of Intensity with Cate Blanchett”. This video is part of a series covering Cate’s collaboration with Giorgio Armani. The first one was released in 2014 (here).
The new clip shows the year in review with new music and even some new images (from Sì Le Parfum campaign). Enjoy! #SaySì

 

 

Screencaptures from Sì – One year of Intensity with Cate Blanchett are now in the gallery!

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July 27th, 2016
Nelly

Gallery Update: Cate Blanchett in photoshoot for The Present

A photo of Cate Blanchett as Anna Petrovna from the first promotional photoshoot for The present has been added to our gallery.
Enjoy!

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July 27th, 2016
Nelly

New image of Cate Blanchett from Armani’s Sì Campaign

Laima magazine has just released a new image of Cate Blanchett for Armani’s Sì parfum campaign. The article mentions the presentation of “Si Le Parfum”, a new, more intense version of the famous Sì fragance.

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Photo by Tom Munro (1920 x 1273)

 

via Laima

July 23rd, 2016
Nelly

Gallery Updates: Events (1997-2003)

Hello everyone! We are expanding the gallery once again, and if you enjoy what you see, please support us with a donation (scroll the homepage down, click on the button Donate on the left)












July 20th, 2016
MLS

Cate Blanchett: “Aprendí a amar el caos”

New interview with Cate Blanchett for Revista OHLALÁ.

 

Nos encontramos con la actriz, en Londres, para hablar del rol femenino, su complejidad y cómo vivir con una mirada positiva.

Cuando nos propusieron viajar a Londres a entrevistar a Cate Blanchett, no lo dudamos un minuto: era una cita imperdible. Ella es un minón hollywoodense de 47 años. Tiene todo: fuerza, actitud, estilo y una mirada que te vende cualquiera de los papeles que interpreta. Ya sea como Galadriel en El señor de los anillos, la sufrida Blue Jasmine de Woody Allen, personificando a Katherine Hepburn en El aviador, a la reina Elizabeth o al mismísimo Bob Dylan en I’m Not There, cada uno de sus personajes la ubican en ese etéreo terreno de lo intocable, en el nivel grosa total.

Amamos a Cate y lo corroboramos al charlar con ella. La chica Armani es puro glamour, pero, a la vez, tiene los pies en la tierra. Después de dos minutos juntas, te hace sentir que podés hablar de lo que sea. Se ríe contando los malabares que hace para combinar trabajo y maternidad (¡con cuatro hijos!), se pone seria para analizar el lugar que se le da a la mujer en la industria y analiza, con muchísima humildad, qué herramientas la llevaron a convertirse en una de las grandes divas del Hollywood contemporáneo.

Desde que se lanzó la primera fragancia Sí, no te cansás de promocionar una forma de vida positiva, ¿podríamos decir que tenés el sí fácil?

Totalmente. Tiendo siempre a decir que sí, a dar una respuesta afirmativa. Probablemente diga demasiados “sí”, estoy seteada así, por default. Pienso que si empezás a decirles “no” a las cosas, terminás cerrándoles la puerta a oportunidades a las que ni siquiera les das la chance de existir, te negás a la curiosidad, sería difícil descubrir pasiones o sorprenderte. Prefiero arrancar diciendo “sí” y después cambiar de opinión.

Me imagino que a nivel laboral no podés aceptar todas las propuestas que te llegan, ¿te arrepentís de haber rechazado algún papel?

No, y eso que rechacé un montón. Porque estaba embarazada, por razones familiares o porque estaba haciendo otra cosa. Pero nunca terminé diciendo “mierda, no agarré ese trabajo”. Porque sé que es parte de la vida, todo pasa por algo y las decisiones que tomé me trajeron hasta acá. Quedarme pensando en lo que no hice sería caer en el famoso FOMO (fear of missing out en inglés, “miedo de estar perdiéndote algo”). Si pensara así, no haría nada, no tomaría ninguna decisión por miedo a perderme lo que no estoy eligiendo. Para mí, si sentís ganas de hacer algo, lo hacés y listo. No hay que pensar en lo que no hacés, solo me quedo con lo que sí hago.

¿Qué te pasa cuando ves que a nivel laboral se les cierran puertas o se les dan distintas posibilidades a las mujeres?

Es tonto. Nadie quiere tener una oficina monocromática, una sociedad monocromática. Está bueno que lleguen aportes desde distintos lugares. Creo que decirle que no a la voz femenina tiene que ver con no poder ver la actualidad. Para triunfar, es importante estar siempre a la vanguardia, y hoy hay cada vez más y más mujeres haciendo cosas grosas. En mi industria, pero también en todos lados. Está bueno que todo sea más complejo y dinámico. Pero creo que ya llegamos a un punto en el que las mujeres estamos dentro del sistema. Lo que se pide ahora es la igualdad de sueldos, de beneficios.

¿Esa búsqueda de igualdad es feminismo o solo sentido común?

Acá hay dos temas. Está el feminismo y está la igualdad ante la ley. El feminismo está colaborando para que se dé la igualdad ante la ley, pero la igualdad es la igualdad y es un tema aparte. Es sentido común. Si dos personas hacen lo mismo, deberían tener las mismas obligaciones y los mismos derechos, más allá del género. No tiene nada que ver.

Generalmente, personificás a mujeres poderosas, imponentes, elegantes, y esa es la imagen que nos dejás. ¿Vos te ves así?

Siempre que la gente dice que un personaje es fuerte, creo que significa que vibra la historia, que está por encima del título de la película, que es más activo que pasivo. Y creo que, en general, todos los personajes que interpreté fueron activos. No sé si necesariamente fuertes o dominantes, pero sí de ir a la acción. Y creo que yo también soy muy activa, muy del hacer. Todos tenemos debilidades, miedos, y eso es algo que también está bueno tener en cuenta cuando desarrollás un papel en cine. Aunque se vean fuertes o decididos, todos los personajes tienen su lado B. Aunque no se vea en la narrativa de la película, me importa saber qué les pasa en realidad, sus preocupaciones, sus dudas, sus debilidades, su complejidad. Creo que lo complejo siempre es más interesante que lo simple. Y por suerte me considero una mujer compleja, que no es lo mismo que complicada, eh.

¿Y cómo hacés para aceptarte compleja y encontrar tus fortalezas?

Qué dificil… Para mí, para encontrar tu fortaleza, primero tenés que encarar tus miedos. Es ridículo pensar que las mujeres que se ven fuertes son superpoderosas y no tienen ninguna debilidad o miedo. Siempre hay de las dos cosas. Es fundamental ser realista. No está bueno paralizarte, mirar a otras mujeres exitosas y pensar que eso no es para vos, que no vas a llegar ahí porque sos débil o porque no estás hecha para eso. Esas mujeres, para llegar ahí, fracasaron decenas de veces, tuvieron contratiempos y miedos, la complejidad de cada una, pero seguramente fue más fuerte la confianza en ellas mismas y en lo que buscaban conseguir. Está bueno tener referentes, inspirarse en otras mujeres a las que admirás. Todo te enriquece. Hablar con amigas de cómo es que resuelven sus cosas, leer historias femeninas de superación. Pero, aunque está bueno inspirarte con estas historias ajenas, es fundamental que cada una encuentre su propio camino.

No hay un solo camino para llegar al objetivo, no hay una sola manera de triunfar en Hollywood o en cualquier otro negocio. Cuando empecé a actuar, todos los periodistas me preguntaban cuál era mi modelo a seguir como si estuviera dado por hecho que hay que elegir uno. Hay muchísimas actrices a las que admiro, como Helen Mirren, Judy Davis, Meryl Streep, todas tienen carreras increíbles y me inspiran, obvio. Pero después vos tenés que hacer tu camino. Porque si tratás de imitar a otro, te estás perdiendo posibilidades o propuestas que podrían hacer tu carrera única y particular.

El camino es todo…

Creo que el mayor error que tenemos es que a veces estamos muy enfocadas en el resultado y nos olvidamos del proceso. Para mí, el proceso es el 90% para alcanzar el 100%. Obvio que hay algo de timing, algo de suerte, de cómo tomás tus responsabilidades en ese proceso. Pero si trabajás, no te das por vencida, insistís, no te bajonea el fracaso, termina saliendo, resulta, todo llega.

Siendo una súper estrella de Hollywood y con dos Oscar en tu mesa de luz, ¿cómo hacés para mantener los pies en la tierra?

Yo lavo la ropa en casa, llevo los chicos al colegio, no me ando sacando selfies y posteándolas con filtros que modelan la realidad.

¿Nada de Instagram?

No, no tengo. Igual, creo que es una herramienta buenísima para muchas otras cosas. Las redes son buenas para ver qué está pasando en otros lugares, conectar personas que pueden ayudarse entre ellas, armar comunidades que puedan potenciar una causa. Pero en particular, no me son muy útiles. Prefiero enfocarme en la vida real, en el trabajo, en mis obligaciones, en mis pasiones.

¿Y algún deporte o terapia alternativa?

Sí, empecé a entrenar para correr. Mi hijo tiene un maratón de 28 km de su escuela en septiembre. Y los padres organizamos un maratón paralelo para correr con ellos. Le prometí que lo iba a hacer, pero yo no puedo correr ni una cuadra así que estoy entrenando a full.

Tenés cuatro hijos chicos, ¿cuál es tu plan preferido con ellos?

La verdad, me gusta hacer cualquier cosa con ellos. Pero ahora justo estamos construyendo una casa del árbol. Algo para lo que ni mi marido ni yo somos buenos, así que espero que no colapse. Amo las casas del árbol.

¿Sos de hacer planes a futuro o sos más espontánea?

Con los chicos, es bastante difícil ser espontánea. No puedo pasar a buscarlos por el colegio tarde. Mi vida es un poco como una operación militar: horarios y cronogramas paralelos que no pueden superponerse. Cada tanto pasa eso de despertarnos y decir: “Bueno, ¿qué vamos a hacer hoy?”. A mi marido le gusta eso. Yo, en cambio, planeo todo la noche anterior y después me hago la espontánea, pero en realidad sé exactamente a dónde vamos a ir. Igual, me gustan esos días que son diferentes, que se salen de lo cotidiano. Es nocivo cuando estás ocupada tooodo el tiempo y cuando parás te sentís culpable porque sentís que deberías estar haciendo algo, logrando algo, completando algo. Está bueno parar. Amo esos días en los que no hay planes. Por eso amo la lluvia. Si se larga a llover y se cancela el programa, te quedás en tu casa disfrutando de hacer nada.

Está bueno eso de no tener todo tan calculado…

Aprendí a amar el caos, pero soy naturalmente ordenada y creo que uno de los regalos de tener hijos es esto de estar todo el tiempo lanzándote a lo desconocido, al desorden. Me encanta ese regalo que a la vez es un desafío.

 via Revista OHLALÁ

July 20th, 2016
Nelly

Cate Blanchett on the front page of London Evening Standard – July 5, 2016

On July 4th, Cate Blanchett, UNHCR goodwill ambassador, attended A Night of Hope, organised by Good Chance and the Quintessentially Foundation, to support theatre in refugees camp.

The London Evening Standard from July 5th published an article covering the charity event who raised more than £100,000.

 

Jude Law and Cate Blanchett were among stars who helped to raise more than £100,000 for the charity behind the theatre in Calais’s “Jungle” camp.

Blanchett, 47, said she was proud to appear in support of Good Chance at the gala night on the South Bank. She said: “Good Chance build temporary theatres of hope, and created a space for artistic expression and sharing in the heart of the ‘Jungle’ camp in Calais.

“We should never underestimate the importance of hope and compassion.”

Good Chance was set up by playwrights Joe Murphy and Joe Robertson, who built their first temporary theatre in the camp in September. The night featured a poetry recital by Law and an auction hosted by Steve Coogan. The singer Tom Odell played a set he performed in the camp earlier this year as part of the project.
Supporters can still bid for auction lots online, including two tickets to Sir Elton John’s Oscars night party in Los Angeles and the chance to appear in the forthcoming Netflix show The Crown, which stars Matt Smith as Prince Philip and Claire Foy as a young Elizabeth II.

via London Evening Standard

July 7th, 2016
Nelly

Cate Blanchett visits the cast of “Queens Of Syria” at the Young Vic

Yesterday, Cate Blanchett, Goodwill Ambassador for UNHCR, the UN Refugee Agency, met the cast of Queens of Syria at the Young Vic. Here are some photos:


 

July 7th, 2016
Nelly

More photos from Cate Blanchett during Giorgio Armani Prive Show for Haute Couture at the Paris Fashion Week

More pictures from Cate during Giorgio Armani Privé Show in Paris, July 5th. Enjoy!!


 

July 7th, 2016
Nelly

Cate Blanchett attends Giorgio Armani Prive Show at the Paris Fashion Week

Earlier today, Cate attended the Giorgio Armani Prive Show for Haute Couture at the Paris Fashion Week, here are some photos:


July 5th, 2016
Annie

Hamburger Bahnhof extends Manifesto until September 18

Great news! The Berlin Museum for Contemporary Art has decided to extend Manifesto to September 18th, instead of closing the exhibition on July 21st.

After around 20 weeks running and over 90,000 visitors to date, the presentation of the film installation Manifesto by Julian Rosenfeldt at Hamburger Bahnhof – Museum für Gegenwart – Berlin has been extended to Sept. 18, 2016.

Beside the great audience success, Manifesto has also received a great deal of praise from the critics: Tagesspiegel speaks of a “fantastic exhibition,” while Berliner Zeitung raved, “One is instantly electrified!” and Frankfurter Allgemeine Zeitung even stated that Manifesto is “the loveliest gift that art has given to the cinema in many years.”

via Staatliche Museen zu Berlin

July 5th, 2016
MLS

Cate Blanchett rewrites art history in 13 short films

New interview with Julian Rosefeldt, director of Manifesto, video installation with Cate Blanchett.

 

Artist Julian Rosefeldt enlists the actress to reinterpret the most famous art manifestos of the 20th century – from Lars Von Trier to constructivism.

Whether it’s Karl Marx’s prescient writings on communism or Guy Debord’s poetic take on the Situationists, manifestos tend to contain explosive calls to action that jump off the page – they practically demand that you lead the Next Great Revolution. But in Berlin, artist Julian Rosefeldt’s meticulously choreographed film installation Manifesto, the bombardment of rebellious remarks thrown at gallerygoers doesn’t inspire radical upheaval so much as it leaves us unsettled, pensive and amused.

With Cate Blanchett as his wildly chameleonic partner-in-crime, Rosefeldt’s 13-channel video installation, on display until 10 July at Berlin’s Hamburger Bahnhof, takes some of the most trailblazing art manifestos of the 20th century out of their original contexts – think Fluxus, surrealism and constructivism, but also the writings of architects and filmmakers like Lars von Trier and Werner Herzog. Manifesto gives these avant-garde, anti-establishment affirmations new meaning, by having female characters reenact them in a stock exchange hall, a garish TV studio and a number of contemporary contexts.

Whether she’s nailing the part of a self-righteous Russian choreographer or a homeless, hirsute man with a megaphone, the marvelously versatile Blanchett brings Rosefeldt’s collaged manifestos to life, often resulting in absurd juxtapositions and playful jabs at our ‘Society of the Spectacle.’ We spoke with Rosefeldt on the fateful day of the Brexit referendum about our collective responsibility to trust artists, the eerie prescience of these manifestos and his humble contribution to dismantling the art-bro status quo.

Most of the manifestos you include were penned by defiant young men. Would you say the writings were a rite of passage for these artists?

Julian Rosefeldt: These manifestos were written at a time when the work these artists became famous for didn’t even exist yet. You could even say they were written in their late adolescence, as they’d just moved away from their parents’ house. When you’re in that moment of your life, you’re an angry young person. You want to break away from your father’s generation, you want to define yourself in opposition, and you tend to do things in an exaggerated manner. Whatever your way of protesting may be, it’s the time in your life where you clearly have a statement to make.

Would it be more difficult for fledgling artists today to make such bold declarations?

Julian Rosefeldt: Keep in mind that we now have a massive global art scene with sophisticated means of communication. In such a world, it’s difficult to provoke, because you’re free to say whatever you want to say, at least in the Western context. Back then, the entire global art scene was probably as big as Berlin’s current art scene. Within that realm, it was a very small fraction of people that were going against the prevailing art tendencies. Those manifesto writers were all part of a tiny minority of avant-garde artists. They screamed as loudly as they had to in order to express what they wanted to get off their chests.

“Nowadays, everything has been put down already, so it’s hard to spark a real provocation” – Julian Rosefeldt

In one of the films, Cate Blanchett’s homeless character quotes the following from visionary Dutch painter and Situationist Constant Nieuwenhuys: “In this period of change, the role of the artist can only be that of the revolutionary.” Would you tend to agree?

Julian Rosefeldt: I guess it’s about how you define a revolution, right? Nowadays, it might not be to run through the streets of Paris with a flaming torch, because you have many other ways of expressing yourself. You can become a hacker, for instance – Edward Snowden is a revolutionary. I believe artists have a voice and should take risks, but not necessarily to act out clichés or be modern-day Jeanne d’Arc. Artists, philosophers and scientists have a great privilege, which is to speak out and say things that haven’t yet been proven.

Each character played by Cate Blanchett delivers the manifesto fragments with utmost conviction. Do you think the passion contained in these artists’ writings resonates just as strongly today?

Julian Rosefeldt: Maybe even more. The beautiful discovery I made while working on these manifestos was that these artists had been seismographers and visionaries of their time, making prophetic readings on their societies. So much in their texts remains absolutely relevant; it’s really shocking. For instance, in the short featuring Cate as the homeless man, I included quotes from the John Reed Club of New York, whose ‘Draft Manifesto’ reads as though it had been written yesterday, even though it’s from 1932! It’s a perfect critique of the crisis of capitalism. It even anticipates globalisation and talks about rising insecurities and wars in the Middle East… You read the text and think, this can’t be, it’s from 1932!

Perhaps there’s a lesson in there about trusting artists, especially at a time when so many loudmouth political leaders hijack our collective attention with mindless rhetoric?

Julian Rosefeldt: Absolutely. And it’s not just Donald Trump. Look at what’s going here in Germany with all this Pegida neo-fascist, populist bullshit, Farage in the U.K., and the ultra-right parties in Scandinavia and the Netherlands. It’s very frightening. Somehow, it’s okay now to say certain things in the streets of Germany that I couldn’t have dreamt about 10 years ago. We have all this loud talking without any substance or intelligence, whereas the authors of those manifestos were all similarly loud and angry, but also brilliantly sharp, intelligent and very poetic. Hopefully, Manifesto can remind people that if you want to say something, you should make sure it’s sharp and intelligent before you open your mouth.

Do these troubled geopolitical times call for new artistic manifestos?

Julian Rosefeldt: There are manifestos written nowadays, but they’re mostly social, political, economic statements and analyses. Artists don’t write manifestos nowadays because their tone is a bit obsolete – this whole subtext of ‘down with…’ and ‘breaking with what has been’. Nowadays, everything has been put down already, so it’s hard to spark a real provocation. Probably the most provocative artist of our time is Russian artist, Petr Pavlensky, who nailed his balls to the Red Square in Moscow. That’s real risk-taking; he’s putting his life on the line. But maybe that’s romantic thinking or an antiquated form of protest in a contemporary society where you can have more of an impact by being a heckler.

“Hopefully, Manifesto can remind people that if you want to say something, you should make sure it’s sharp and intelligent before you open your mouth” – Julian Rosefeldt

That being said, the astute Instagram response to your installation – people posting quotes from Manifesto – tells me these texts are really striking a chord.

Julian Rosefeldt: I totally agree. My friends showed me those quotes. It makes me very happy, because that means those texts are now back in circulation. That was a big discovery for me, too. I had of course heard about most of these manifestos and had read parts of Dada, Fluxus and the Futurists, but finding out that all of these fantastic artists were also brilliant thinkers and writers was a great discovery.

Beyond the obvious reasons for casting Cate Blanchett (e.g., finding someone who could effortlessly flip from foul-mouthed Tea Party mom to contemptible rock star), did you intentionally seek out a household name for this project?

Julian Rosefeldt: Not really. The simple answer is that we were introduced by a mutual friend a few years ago, started talking and the idea came up of doing something together. This was completely overwhelming and fantastic for me because I have admired her acting for a long time. It was specifically conceived for her, to have her play multiple characters. She is one of these amazingly instinctive actresses with an unbounded curiosity in the human condition, and she never stops researching. So I needed to provide something that she could really sink her teeth into! It was so fascinating to watch her disappear in each one of these characters because she’s so good at what she does.

Given how few of the manifestos were written by women, it’s also refreshing to find Cate reenact them, dismantling the art-bro domination.

Julian Rosefeldt: Definitely. I initially came across these artistic manifestos while doing research for my film Deep Gold, which is an homage to Luis Buñuel’s second film, The Golden Age. I discovered two texts from the French futurist Valentine de Saint-Point, but on-the-whole what shocked me about these fascinating artist manifestos was that they were largely written by men. This has to do with the fact that the 20th century was a very male-dominated one. So when I decided to do Manifesto with Cate, I thought it would be great to counterbalance the male energies from the texts with a female protagonist, giving them a completely different connotation. It helps free the original texts from the dustbin of art history.

Lastly, I have to ask about the film-themed segment set in an elementary school, where Cate plays a teacher informing her pupils that “nothing is original” and “it’s not where you take things from, it’s where you take them to.” She’s quoting from Herzog, von Trier and Jim Jarmusch’s Golden Rules of Filmmaking (2004) –by far the most recent manifestos you included in the project. Did these hold any particular significance for you?

Julian Rosefeldt: Very much. I just love Jarmusch’s text. It’s what I would love to tell my children every day. It has this humour but also this optimism, which I think is both helpful and necessary towards the end, after you’ve been bombarded by all these ‘down with’ manifestos, to see these children who might become future brokers or artists. I also included quotes from an American architect and visionary named Lebbeus Woods, who had this very sci-fi-driven, utopian architectural fantasy. His text is kind of the epilogue of that scene when Cate says: “tomorrow we begin together the construction of a new city.” She’s certainly not talking about the city as architecture, but rather about a new architecture of ideas. The children in her classroom will probably be the architects of that city.

“Manifesto” is on display until 10 July at Berlin’s Hamburger Bahnhof

 

via  Dazed

July 4th, 2016
Nelly

Cate Blanchett on the cover of The Sunday Times Magazine (STMPerth) – July 3rd, 2016

Cate Blanchett is on the cover of the new STMPerth issue. Available today, July 3rd!

 

via STMPerth

July 3rd, 2016
Nelly

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