Category: Manifesto

The Villa Stuck Museum celebrates Cate Blanchett with a retrospective

The Villa Stuck Museum celebrates Cate Blanchett with a retrospective

Good evening!

The Villa Stuck Museum (Munich, Germany) that will hosts Manifesto (exhibition) from February 16 to May 21, 2017, organized a restrospective to celebrate Cate Blanchett starting at the end of March with Oscar and Lucinda and ending in June with the linear version of Manifesto. You can find the complete program here

Manifesto – Linear Version Trailer

Manifesto – Linear Version Trailer

Good afternoon!

The first trailer for the linear version of Manifesto it’s been released by The Match Factory two days ago (sorry for the late update). Enjoy!


via The Film Stage



Gallery Links:

For our new followers and the older ones, a quick recap, since there are two versions of Manifesto, it might get confusing:
– The exhibition version (12 screen installations, more then two hours long) is touring museums and art festivals since December 2015, and is currently on show in Sydney, Hannover and Stuttgart. It’s set to open in Munich, Paris, Aarhus and Amsterdam in the next six months. On the right sidebar there is the complete list;
– The linear or movie version it’s a shorter work, acquired by The Match Factory, that released the trailer in this post, and set to debut at the Sundance Film Festival, then Rotterdam and Gothenburg in the next weeks.

If we skipped any museum/festival, please let us know!

Manifesto premieres at the 40th Göteborg Film Festival (Sweden)

Manifesto premieres at the 40th Göteborg Film Festival (Sweden)

Good morning!
The linear version of Manifesto conquers another film festival and an award. The Göteborg Film Festival (Gothenburg, Sweden) assigns the Ingmar Bergman International Debut Award to Julian Rosefeldt’s masterpiece! The festival has also set 3 screenings of the movie, starting on February 2nd. More info at the official site

The International Film Festival of Rotterdam set European Premiere of Manifesto

The International Film Festival of Rotterdam set European Premiere of Manifesto

Good afternoon!

After the Sundance Film Festival, that marks the worldwide premiere of Manifesto, the film, based on the art exhibition, will premieres in Europe at the International Film Festival of Rotterdam, Netherlands, that takes place from January 25 to February 5, 2017.
The movie is a part of the Bright Future Section and will debut out of competion. The complete calendar has yet to be released.

Manifesto, Julian Rosefeldt, Germany, European premiere
Can history’s art manifestos apply to contemporary society? A series of re-enactments – all performed by Cate Blanchett – explores the performative components and political significance of these declarations.

Official site

The Art Gallery of New South Wales extends Manifesto

The Art Gallery of New South Wales extends Manifesto

Hello everyone!
Good news for those around the Sydney area!
The Art Gallery of New South Wales (Sydney) has prolonged the exhibition of Manifesto from January 2017 to February 19th 2017.

Manifesto is also currently showing in Sprengel Museum (Hannover, Germany) until May 7, 2017, Park Avenue Armory (New York City, United States) until January 8, 2017 and Staatgalerie (Stuttgart, Germany) until May 14, 2017.

For more information >> The Art Gallery of New South Wales

Vogue & La Perla Celebrate the Installation of Manifesto in New York

Vogue & La Perla Celebrate the Installation of Manifesto in New York

Last night, Cate attended the celebration hosted by Vogue and La Perla for the Manifesto installation in New York, here are pictures:


Manifesto premieres at the Sundance Film Festival

Manifesto premieres at the Sundance Film Festival

Good morning to you all!

The 33rd Sundance Film Festival (Park City, Utah, January 19-29, 2017) unveiled the last part of the program, where in the Premieres section, stands Manifesto. We don’t know if it’s the original version or be the 90 minutes linear version previously announced for 2018. The complete program won’t be revealed until later in the week.

via Sundance Film Festival

Manifesto opens in Paris and Amsterdam (2017)

Manifesto opens in Paris and Amsterdam (2017)

Hello everyone, and a very good morning to all our European friends! After Germany and Denmark, Julian Rosefeldt’s Manifesto tours in France and Netherlands!

For the 200th anniversary of the École nationale supérieure des Beaux-Arts (National School of Fine Arts) in Paris, Manifesto will show at the Palais des Beaux-Arts in a double exhibition from February 24 to April 20, 2017.

Manifesto et L’École de la République : d’Antigone à Mariannedans les collections des
Beaux-Arts de Paris.
24 février – 20 avril 2017, Palais des Beaux-Arts
Au Palais des Beaux-Arts, le premier volet du programme débutera en février 2017 avec une exposition conçue à partir des collections des Beaux-Arts présentée conjointement à Manifesto, une grande installation vidéo de l’artiste allemand Julian Rosefeldt. Les deux expositions rendent compte des confrontations idéologiques qui ont animé la politique et l’art, au xixe siècle avec l’émergence d’une pensée républicaine, et, au début du xxe siècle, avec les engagements et les prises de position des avant-gardes.
Ce volet d’exposition s’est ouvert dès le mois d’octobre 2016 par une exposition de 150 dessins issus des collections des Beaux-Arts à la fondation Custodia. L’ensemble décrit une autre période de forts bouleversements historiques avec le passage de la fin du règne de Louis XV à la Révolution.

via Official program

The Holland Festival just announced the first six exhibitions part of their annual festival set for June in Amsterdam. Manifesto will open every afternoon from June 4 to June 25, 2017. You can book a ticket here

Julian Rosefeldt and Cate Blanchett talk about Manifesto

Julian Rosefeldt and Cate Blanchett talk about Manifesto

Good morning! This is the first interview related to the American promotion of Manifesto, and, if I’m not very wrong, this is also one of the first interviews where Cate Blanchett shares a comment on the project. Read a few extracts below, for the full interview visit The New York Times. Enjoy!

Cate Blanchett Morphs a Dozen Times in ‘Manifesto’

Most people probably wouldn’t rush to read a lot of philosophical declarations by artists from the past century. But if those statements — known historically as manifestoes — were delivered by the actress Cate Blanchett, playing distinctly different characters, audiences might be more likely to pay attention.

At least that was the thinking of the artist and filmmaker Julian Rosefeldt in his creation of “Manifesto.” A collage of 20th-century artistic pronouncements, reinterpreted as poetic monologues on screen by Ms. Blanchett, his installation will have its North American premiere at the Park Avenue Armory, starting Dec. 7.

Mr. Rosefeldt and Ms. Blanchett met in Berlin during the 2010 opening of an exhibition of his work in the Berlinische Galerie. They were introduced by their mutual friends, the theater directors Thomas Ostermeier and Tobias Veit.

“I like working with people that I find interesting, whatever their discipline,” Ms. Blanchett said in a telephone interview. “I’m very visually inspired, so I’m constantly looking to artists, whether they’re working in film or paper or clay.”

Mr. Rosefeldt and Ms. Blanchett expressed an interest in working together, but it was only two years later — during his research for another project — that Mr. Rosefeldt came across the artist manifestoes. “The one thing I knew beforehand was, I wanted her to be many personae,” he said. “And when I read all those beautiful and poetic texts, presumptuous and yet prophetic, I imagined her incorporating all these ideas.”

Together, Mr. Rosefeldt and Ms. Blanchett narrowed down the number of characters. “We spent the weekend working out which manifestoes were most dynamic,” she said. “We sat and read them aloud — they’re incredibly rhythmic.”

“Context is so much about meaning,” she added. “Out of context, what do they mean? What do they mean now? When you see it as a multichannel work, the words become incredibly important. You move in and out of their orbit. They have a hypnotic effect, and hopefully, you lose yourself in them.”

Mr. Rosefeldt said Ms. Blanchett was able to inhabit the many different characters and to infuse their words with significance. “She’s almost like a mixture of a scientist and an artist — she’s really researching the human condition all the time,” Mr. Rosefeldt said. “The way she approaches characters, it’s not just wanting to say, ‘How does this person feel?’ She wants to understand the sociological and psychological aspects of each character.”

The two worked within the tight time frame “of a telenovela,” Mr. Rosefeldt said: just two days for prep and 11 days with Ms. Blanchett on the set.

“I couldn’t imagine having done this with anybody else,” he said. “It’s amazing what she delivered from day to day — another character becoming the manifesto. She’s not re-enacting them or reading them; she is the manifesto.”

Manifesto arrives in Stuttgart this December

Manifesto arrives in Stuttgart this December

Good evening! Another good news for our German friends: Manifesto tours in another city!

  • Stuttgart: at the Staatgalerie, from December 16, 2016 to May 14, 2017 – Official site

The Sprengel Museum of Hannover extended Manifesto from January 29 to May 7, 2017 – Official site

Make time for this!

News on Manifesto – Next openings in Germany and Denmark

News on Manifesto – Next openings in Germany and Denmark

Good evening to you all! We have more news on Manifesto. For those who live in Northen Europe, or plan to travel there in 2017, the exhibition in Hannover won’t be the last chance to watch Cate Blanchett star in Julian Rosefeldt’s masterpiece, as the work will tour in:

  • Munich (Germany) at the Villa Stuck Museum from February 16 to May 21, 2017 – official site
  • Aarhus (Denmark), European Capital of Culture 2017, at the ‘O’ Space, from March to May 2017 – official site

 

Hamburger Bahnhof and the Art Gallery of New South Wales extend Manifesto

Hamburger Bahnhof and the Art Gallery of New South Wales extend Manifesto

Hello everyone! Good news for those who live or plan to visit Berlin or Sydney in the next weeks: you have a chance to watch Manifesto, the video installation by Julian Rosefeldt, in which Cate Blanchett embodies thirteen different characters.

The Hamburger Bahnhof – Museum für Gegenwart (Berlin) has extend Manifesto for the second time, moving the closing day from September 18 to November 6, 2016.

The Art Gallery of New South Wales (Sydney) has prolonged the exhibition from November 2016 to January 2017.

Manifesto is currently showing in Hannover (until January 29, 2017) and Duisburg (until Sunday) too, is set to open in New York this December and a 90 minutes version will tour festivals in 2018.

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

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

Hamburger Bahnhof extends Manifesto until September 18

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

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

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