Category: Articles

‘Thor: Ragnarok’: Cate Blanchett Took Inspiration From Cosplayers for Hela’s Look

Hi everyone!

In this new interview, Cate discusses the sources of inspiration for Hela’s look. Enjoy the reading!

‘Thor: Ragnarok’: Cate Blanchett Took Inspiration From Cosplayers for Hela’s Look

Yahoo Movies Donna FreydkinYahoo MoviesMarch 17, 2017

Cate Blanchett as Hela in Thor: Ragnarok.
Cate Blanchett as Hela in Thor: Ragnarok. (Photo: Marvel)
She’s played Queen Elizabeth, Bob Dylan, and elven royalty. So perhaps one of the few acting challenges left for Cate Blanchett is tackling a comic-book villain. She’s about to prove her Marvel mettle this fall as Hela, the Asgardian goddess of death who’ll wreak havoc in the November Avenger sequel Thor: Ragnarok.

Hela, who has had multiple incarnations in the comics, usually wears an elaborate headdress, but Blanchett also gave a lot of thought to how she’d look without her gear — and took some inspiration from fans online.

“When I was starting to think about how she might look, I went back to the fanbase,” said Blanchett, who recently spoke to Yahoo. “All these girls were doing Hela makeup looks on YouTube. I thought about what their takes on her were. I spoke to Marvel about what she would look like when she would be unmasked, so she wasn’t a faceless, generic baddie. They were very open to everything.”

Blanchett was first drawn to the project by director Taika Waititi and “his unique, slightly askew take on the universe,” she said. In Ragnarok, our hero, Thor (Chris Hemsworth), will battle Hela when she’s inadvertently unleashed on Asgard after spending millennia locked away. The scale of destruction that she represents is enough to unite the god of thunder with his seriously estranged brother Loki (Tom Hiddleston) and his Avenger rival the Hulk (Mark Ruffalo), who’s along for this intergalactic ride.

The Marvel universe “needed a bit of a shakeup,” the actress said. “I didn’t realize until I got on the set that this is the first Marvel film incarnation of a female villain. What decade are we in? It was shocking to me. The character they created is ballsy and front-footed.” Hela also happens to be the reason Blanchett, 47, has some new street cred with her four children. “I earned a few brownie points,” she bragged.

via Yahoo

Voice Enhancer – New promotional interview for Sì

Voice Enhancer – New promotional interview for Sì

Hello people! A new promotional interiew to promote The Present and Sì Rose Signature

Cate Blanchett can be forgiven for not knowing that Drew Barrymore wants to eat her.

The two-time Oscar winning actress is currently appearing on Broadway in an adaptation of Chekhov’s “The Present,” and her schedule is punishing. The actress has nine performances weekly, each clocking in at almost three hours, which doesn’t leave much time to catch E News, where Barrymore, promoting her new Netflix series about a suburban mom who becomes a cannibal, proclaimed Blanchett to be the person she’d most like to eat “because she’s like the most amazing woman ever.”

Blanchett laughs a deep throaty laugh when she hears the story, and immediately gives the love right back. “She’s an angel, a very talented angel.” But the actress — who today is conducting interviews with international beauty editors in her role as the face of Giorgio Armani’s Si fragrance before heading to the theater for her evening performance — has been avidly following the political news during her time in New York.

In January, for example, she joined the The Ghostlight Project’s protest march on Broadway, wearing a pink knit “pussy” hat, and while she couldn’t attend the Women’s March on Washington because of her performance schedule (“I was there in spirit,” she says), she hasn’t been reticent about speaking her mind.

“When Elizabeth Warren is told that she can not speak in the Senate, they are dark days,” says Blanchett. “I don’t know what century I’m in. I thought that the equal pay for equal work conversation was boring and reactionary enough, but this is deeply shocking. We have the choice now to evolve as a species and part of that is finally getting rid of the shocking inequalities that exist not only between the genders but the wealth divide.”

Blanchett’s relationship with Armani has been a longstanding one — she likes to tell the story of running out to buy an Armani suit after getting her first acting paycheck and is quick to note that she still owns it (“his clothes don’t date”) — due in part to his espousal of gender equality. “He was one of the first designers to really unlock the complexity of the female aesthetic. He liberated women from the need to wear traditionally feminine clothes or traditionally sexy clothes,” says Blanchett. “There is a kind of Eastern simplicity, and also an Eastern mélange of the opposites that exist in his designs — you’ve got the masculine with the feminine and the soft with the hard.

“He is interested in all of those dualities,” she continues, “and when he was creating Si he wanted all of those complexities and dualities to exist.” It is a message that has resonated. Industry sources estimate that Si, which is currently launching its second flanker called Rose Signature, has reached retail sales of $80 million in the U.S. since launching in 2014.

Sitting in the Presidential Suite on the 53rd floor of the Mandarin Oriental Hotel, Blanchett, wearing a navy Armani trouser suit, has a commanding view of New York City and Central Park. When asked if she’s enjoyed working in New York, she gives a brief hesitation. “It’s very confronting at the moment, for sure, but it’s a great city,” she says.

While she’s performed in New York before, “The Present” marks her Broadway debut. As for what’s next to tick off on the bucket list? Blanchett reels off a list of directors she’d like to work with, including Thomas Ostermeier, Julian Rosefeldt (who directed her in the one-woman multiscreen film installation, “Manifesto”) and Andrea Arnold. “And I’d also like to finally get some chickens in my chicken coop,” she adds. “So there is a lot to do.”

via WWD

Cate Blanchett: scans of old magazines and interview for Elle Brazil July 2016

Hi everyone!

We recovered many old articles and interviews with Cate Blanchett from various countries. The latest among them is the interview for Elle Brazil July 2016 to promote Sì Le Parfum. Enjoy!



Gallery Links:

We are aware that a lot of people save and repost our images without giving us the due credit. I’d like to remind all these people that we work hard to keep this site updated and with contents freely available. If this unrespectful behaviour persists, we’ll start tagging again all the photos, and not where the tag could be easily cut.

Cate Blanchett stars in Red, a Del Kathryn Barton short film

Cate Blanchett stars in Red, a Del Kathryn Barton short film

Hi everyone!

As part of the 2017 Adelaide Festival, the Art Gallery of South Australia will receive the new collaboration between two of Australia’s greatest artists – Cate Blanchett and Del Kathryn Barton. The short film entitled Red will be screened at AGSA and become part of the gallery’s collection. Enjoy some articles about the film and the first stills!

Better known for her dreamy, abstract portraits, Del Kathryn Barton is venturing into the world of film, with her first work – starring Cate Blanchett – to debut at the Art Gallery of South Australia.

The short film, titled Red, is a surrealist take on female power inspired by the mating rituals of the Australian red back spider.

“This brutal chronicle spoke to me of the poetics of female power as an inherent and indeed, elemental force in the universe,” Barton said in a statement.

“By intercutting human protagonists with extraordinary macro footage, Red has evolved into what I now consider to be an uncompromising celebration of female power.”

It will be the first time Blanchett and Barton have collaborated and the first time Barton has attempted a film on her own accord; the artist’s two other experiences in film have been under the guidance of filmmaker Brendan Fletcher.

The film will be presented as part of the 2017 Adelaide Festival in January, which runs from Thursday the 26th January to Sunday the 30th of April at the Art Gallery of South Australia..

Source: Vogue Australia


del kathryn barton Australia, born 1972 RED, 2016 high resolution digital video, 15 mins, patrons edition 2/3 (film still); Gift of the Art Gallery of South Australia Contemporary Collectors 2016, Art Gallery of South Australia, Adelaide Images courtesy of the artist

She is venomous, eats her partner after sex and weaves a tangled web.

With such a reputation, it is little wonder the Australian redback spider has inspired two of Australia’s greatest artists – Cate Blanchett and Del Kathryn Barton – to create a short film that will premiere at the Art Gallery of South Australia as part of the 2017 Adelaide Festival.
RED is billed as a surreal, savage tale of female power inspired by the mating rituals of the redback spider, which stars Blanchett, actor Alex Russell and the Sydney Dance Company’s Charmene Yap.

“In essence, the narrative in RED illuminates the unusual mating rituals of the Australian red-back spider,” Barton said. “Here, our brave little male after copulating with the monumental female gently somersaults into her mouth, offering himself as a meal postcoital. If she is not hungry she will store his bound, dying body on her web for later consumption.”

In a Q&A with the gallery, Barton said the mating habits evoked what she described as “the poetics of female power as an inherent and indeed, elemental force in the universe”.

“By intercutting human protagonists with extraordinary macro footage, RED has evolved into what I now consider to be an uncompromising celebration of female power.”

The dual-screen work delve into themes of passion, sex and death, drawing on the symbolism of the female redback spider.

Barton’s portrait of Blanchett and her children, Mother (a portrait of Cate), was a finalist in the 2011 Archibald Prize.
Blanchett, a two-time Academy Award winner, can currently be seen in German artist Julian Rosefeldt art film Manifesto at the Art Gallery of NSW. The versatile actor will also make her Broadway in December in the Sydney Theatre Company production The Present, Andrew Upton’s adaptation of Anton Chekhov’s Platonov, which also stars Richard Roxburgh.

Barton said she screamed out loud when Blanchett agreed to appear in the short film.

“On shoot day, she nailed the long cutting performance on the first take,” she said. “Her energy exploded off the monitor. We were all blown away. Cate is mother. At that point I knew that the stakes on RED had just gone to another level. I was actually shitting myself just a little bit.”

Barton embarked on the film after winning a $50,000 creative fellowship from the Australian Film Television and Radio School in 2015.

A two-time Archibald Prize winner, Barton’s art often examines fertility and the psychology of relationships. Her previous films include the human dress (2012) and last year’sThe Nightingale and the Rose.

The short film will be screened at AGSA and become part of the gallery’s collection. AGSA director Nick Mitzevich said the short film would take Barton’s “career to a new level and to new audiences”.

Source: The Sydney Morning Herald


del kathryn barton Australia, born 1972 RED, 2016 high resolution digital video, 15 mins, patrons edition 2/3 (film still); Gift of the Art Gallery of South Australia Contemporary Collectors 2016, Art Gallery of South Australia, Adelaide Images courtesy of the artist

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Cate Blanchett: “Aprendí a amar el caos”

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

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

Cate Blanchett rewrites art history in 13 short films

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

Cate Blanchett honoured to represent and celebrate women in Giorgio Armani’s latest fragrance campaign

Cate Blanchett honoured to represent and celebrate women in Giorgio Armani’s latest fragrance campaign

ONE day, Cate Blanchett might be taking tuck shop orders at her kids’ primary school. The next, she’ll be accepting a doctorate and lobbying for the arts. And the day after that you’ll probably find her sharing a film set with Robert Redford.

Forget Duchess Kate and the stories about her perfect hair, sense of style and cute baby, Blanchett is the type of woman other women aspire to be.

She truly seems to “have it all”, balancing family with passion for her causes and ground-breaking work while being as perfectly turned out in the grocer’s shop as she is on the red carpet.

Blanchett cleverly picks ­high-profile roles in intelligent, ­well-made films — an approach that has seen her garner an extraordinary 95 awards — including this year’s Best Actress Oscar for her role in Blue Jasmine — and 75 nominations, making her one of the industry’s most profitable and bankable stars.

Perhaps that’s why she is also one of the world’s most sought-after women when it comes to endorsements — whether it’s dressing for the red carpet or, with that timeless face and flawless complexion, cosmetic ones.

The 45-year-old star has been dressed by many fashion designers for those red carpet appearances, but none more so than Giorgio Armani.

“The sense of elegance in Mr Armani’s style is effortless and unaffected,” she says in an exclusive interview.

The feeling seems mutual he once told the New York Post that Blanchett “epitomises the woman for whom I design”, adding that “she has cemented a place for herself on the eternal best-dressed list”.

Theirs is a relationship that has lasted many years, including Armani’s tenure as patron of the Sydney Theatre Company during her directorship, so it is only fitting that the maestro himself would choose Blanchett to be the face of one of his fragrances.

Blanchett’s latest endorsement is Si Intense by Giorgio Armani. It is her second perfume partnership with Armani. The new fragrance claims to represent “a woman of grace and independent spirit; admired for her sophistication (and) serene in her self-confidence” — values she is happy to put her name to, and admits she also shares.

“If the Si woman thirsts for freedom, admires courage, strength and vulnerability, is drawn to all things sensual and loves to laugh then yes, I relate absolutely,” she says.

But it is her intensity that matches the complexity Armani attributes to his perfume, which is modelled on the concept of black.

“Black, the sum of all colours and the ultimate non-colour, is both the most classic choice and the most difficult hurdle for a designer, “ Armani told Insider through a statement.

“It has always represented elegance and mystery.”

Blanchett might have stepped down from her artistic role at the STC to focus on performing, but her life doesn’t seem much quieter these days.

She’s rumoured to be working on the US film Truth with Robert Redford and has just finished a season of Jean Genet’s The Maids in New York. And she recently accepted an honorary doctorate of letters from Macquarie University.

“I don’t commit to things lightly, as I know the work involved and the time things take,” she says.

“I can’t do things by halves. But yes, when I do commit it is wholeheartedly.

“I feel like each role I play demands an effort, the effort of starting again, not knowing how or where to begin. After each role I always say ‘That’s it, I’m done now. No more acting.’ So each time I have to be seduced back into the profession by the idea of the production; the people, the words, the conversation, the images to be had. If it’s not an effort, if I’m not attempting to go somewhere new, then it’s best I stay happily at home.”

Even when work isn’t dominating her time, life in the Blanchett-Upton house and the constant demands of her three sons, Dashiell, 12, Roman, nine and Ignatius, six, who think her films are boring, keep her down to earth. Not to mention how someone acclaimed for their fashion fits into such a male-dominated household.

“They call me ‘stupid poo face’ when I refuse them ice cream!” she says. “But intensity is at the heart of life. I like being close to the fire, inside things, moving forward. That said, one needs moments of calm, but even so I like to know this passionate heart beat is still there.”

Her craving for intensity even reaches into the core of her relationship with husband Andrew Upton, writer and her partner during her stint at the Sydney Theatre Company.

“My husband likes to think he makes me intensely happy. I think he is right. We laugh like drains,” she says.

Some people might dismiss perfume endorsements, but representing and celebrating women is something Blanchett, who describes herself as a feminist, takes seriously.

“A committed woman today is one who is not apologising for herself, her choices or achievements,” she says.

“Being successful, as a CEO, actress, mother or whatever, doesn’t mean one is not feminine; fulfilment is surely part of being female.”


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