Category: Manifesto

Extended Until July: Julian Rosefeldt’s Manifesto in Auckland Art Gallery

Extended Until July: Julian Rosefeldt’s Manifesto in Auckland Art Gallery

Hello everybody!

We have some news about Manifesto. Read the press release below:

Auckland Art Gallery Toi T?maki’s presentation of the immersive 13-screen film installation, Manifesto, by Julian Rosefeldt featuring Cate Blanchett has been extended until Sunday 15 July.

Rosefeldt’s Manifesto (2015) delivers extraordinary filmmaking that invites viewers to explore the limits of emotional range as actor Cate Blanchett inhabits thirteen roles from school teacher to puppeteer, newsreader and factory worker.

Throughout, Rosefeldt pays homage to the tradition of artist manifestos, drawing on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists and other artist groups.

Last month, Manifesto triumphed at Germany’s biggest film awards, the Lolas, taking out awards for Best Production Design, Best Costume Design and Best Makeup.

Local commentators have called the exhibition ‘stunning’ (Stuff.co.nz), ‘unforgettable’ (Concrete Playground) and ’a total work of art’ (Art News New Zealand).

Manifesto offers Gallery visitors a rich, visual experience and the chance to explore the role of artists – and artists’ manifestos – today.

Upcoming public programmes:
Makeup Demonstration: Diane Ensor & Bex Elliot from the Makeup School
Sunday 20 May, 3pm, Gallery’s North Atrium
Join Diane Ensor and Bex Elliot from the Makeup School as they explore the extraordinary physical transformations that Cate Blanchett undergoes in Manifesto. Diane and Bex will transform identical twins Hannah and Rachel into two radically different characters from Manifesto.
[ENDS]

Source

Ponyo comes back to US theaters for its 10th anniversary and Manifesto opens in France

Ponyo comes back to US theaters for its 10th anniversary and Manifesto opens in France

Hello everyone!

Great news for American fans! The animation Ponyo is coming back to theaters for its 10th anniversary! The animation film features Cate Blanchett as Gran Mamare in its English version and opens March 25 in AMC Theatres.

From the Academy Award-winning director and world-renowned Japanese animation legend Hayao Miyazaki comes PONYO, a story inspired by Hans Christian Andersen’s fairy tale ‘The Little Mermaid’. Already a box-office success in Japan, the story of a young and overeager goldfish named Ponyo (voiced by NOAH CYRUS) and her quest to become human features an outstanding roster of voice talent, including CATE BLANCHETT, MATT DAMON, TINA FEY, FRANKIE JONAS, CLORIS LEACHMAN, LIAM NEESON, LILY TOMLIN and BETTY WHITE.

Tickets and More Information HERE

For French fans, French distributor Haut et court will release Manifesto movie on May, 2nd. Thanks to Florence for sharing the news.

More Info HERE

Manifesto DVD release (UK) + Sofia Film Festival

Manifesto DVD release (UK) + Sofia Film Festival

Good evening again! Manifesto is going to be released on DVD and Blu-Ray on March 12, 2018 (UK) – click here to order it.

The movie was available on DVD since September 25, 2017, but we totally missed the news, as the movie was already made available on VOD in July.

The movie is also set to premiere at the 22nd Sofia International Film Fest (Bulgaria) this March. (Source)

The installation just closed in Shanghai and in Prague, and is set to tour in New Zealand (February) and in Canada (October). If we missed anything, let us know!

Manifesto – Cate Blanchett Like You’ve Never Seen Her Before

Manifesto – Cate Blanchett Like You’ve Never Seen Her Before

Good evening! Cate Blanchett talks with Vogue in a new promotional interview for Manifesto. Enjoy!

When Cate Blanchett agreed to star in German artist Julian Rosefeldt’s Manifesto, she had no idea how many roles she was taking on. “Originally, I thought I would play about four characters. Julian thought I would play about 24. The two of us agreed to meet somewhere in between – but I have a terrible memory, and when I arrived in Berlin to start filming, I was convinced that it was nine when it was 13,” she says, perched on a couch with Rosefeldt in a suite at the Haymarket Hotel near Trafalgar Square. Not that the lack of preparation time seems to have fazed the Oscar winner. “The reality of acting is that you can do all of the homework in the world for a part – but my relationship with performance is much more circus-like. I have to jump into someone’s hands. They have to catch me at the right moment. Otherwise, there’s no trapeze act.”
And what a trapeze act. In Manifesto, Blanchett embodies a homeless man pushing a shopping cart through a post-apocalyptic landscape; a glossy American newscaster (and the rain-beaten weather person she is interviewing); a Southern housewife reading grace around a dinner table to her husband and children; a puppeteer manipulating a doll-like version of herself; a funeral attendee delivering a tearful speech in a graveyard – among several other personas. Each one voices a text collage derived from a selection of more than 50 manifestos – from Karl Marx’s communist treatise to Lars von Trier’s “Dogme 95”. Originally displayed as vignettes at 13 galleries around the world, the character studies have now been rolled into an extraordinary 90-minute film available to download or stream.
The avant-garde masterpiece was years in the making. Blanchett first met Rosefeldt at a gallery in Berlin in 2010, deciding to work with him on a project that same night – but it was only in 2014 that Rosefeldt found the right concept. “I had read lots of artistic and political manifestos when I was studying – but I forgot about them until I came across works by the Futurist poet and choreographer Valentine de Saint-Point,” he explains. “Then I started exploring other manifestos for a variety of movements: Surrealism, Creationism, Vorticism, Dadaism, Minimalism…I had always seen those texts as works of history – but imagining Cate performing them suddenly brought them to life.”
A few months later, he had a series of monologues and a rough character sketch to go with each one – all of which he carefully refined with Blanchett over a few days in New York. Her initial response to the scripts? “I was attracted to Julian’s work because of the quietness – and then he came up with the polar opposite of a silent film,” she laughs. “I was rather distressed, but, you know, I’d already said yes.” As for whether she was nervous about taking on such an unusual project? “The amount of text was nerve-wracking. I’ve never been an exhibitionist, and this required me to push myself to the limit – but I’ve never been afraid of failing. I do it constantly!”

via Vogue UK

Manifesto – Radio interview and infos about Canadian exhibition

Manifesto – Radio interview and infos about Canadian exhibition

Good evening! Cate Blanchett and Julian Rosefeldt speak with BBC Radio 4, during Front Row. The interview aired yesterday, and the presenter relased a picture as well.


Interview starts around 11:49. Enjoy!

We previously announced the Manifesto’s exhibition is going to be expose in Montreal in 2018. The Konig Galerie revealed the exact time frame:
JULIAN ROSEFELDT | MANIFESTO
MUSÉE D’ART CONTEMPORAIN DE MONTRÉAL, MONTRÉAL, CA | 17.10.2018–21.1.2019

Manifesto – Promotional interview

Manifesto – Promotional interview

Hello! Cate and director Julian Rosefeldt where recently interviewed during London Film Festival. Cate mainly talks about Manifesto, but she also mentions Thor: Ragnarok in the end. Full interview here. Enjoy!

Cate Blanchett: artists are being silenced
A news anchor, a widow, a bearded drunk … Cate Blanchett’s new film sees the actor take on 13 personas in a script cribbed from 50 revolutionary texts. She and director Julian Rosefeldt explain why Manifesto is an artistic call to arms in the age of Trump.

Here’s Cate Blanchett as you’ve never seen her before: as a bearded old man pulling a shopping cart through a post-industrial wasteland. In a drunken Scottish accent he/she proclaims: “We glorify the revolution aloud as the only engine of life. We glorify the vibrations of the inventors young and strong. They carry the flaming torch of the revolution!” Now Blanchett is a grieving widow telling a funeral congregation, “to lick the penumbra and float in the big mouth filled with honey and excrement”. Now she’s an American news anchor in the studio, talking to a reporter standing in the rain under an umbrella. The reporter is also Blanchett. “Well Cate, perhaps this could all be dealt with if man was not facing a black hole,” she tells her other self. Now she’s a 1950s mother, clasping her hands in prayer before the Thanksgiving family dinner: “I am for art that comes out of a chimney like black hair and scatters in the sky,” she murmurs, as the children eye the turkey hungrily.

These are not clips from the two-time Oscar-winning actor’s showreel; this is Manifesto, originally a multi-screen gallery installation, now an unclassifiable feature directed by German artist and film-maker Julian Rosefeldt. The script is collaged from more than 50 artists’ manifestos from the past century, and recited by 13 different Blanchetts.

Today, the actor is in another persona – different from any of her characters in the film, or any previous roles. Certainly different from her current turn as a green-screen-chewing, emo-styled goddess of destruction in Thor: Ragnarok. This is Blanchett as artistic collaborator. Sipping tea alongside Rosefeldt in a London hotel suite, discussing big ideas in overlapping sentences, they are an articulate double act.

“Well the first thing is: is it a film?” Blanchett begins.

“She keeps asking that,” says Rosefeldt.

“The amazing thing,” Blanchett continues, “is that there are all these assertions of debasing and debunking and destroying what comes before in order to create this fundamental moment of unique artistic expression, but in performing, you’re struck by the similarities between these manifestos: the rhythmic similarities, the energetic similarities and just the intellectual attack.”

Rosefeldt takes up her point: “There’s a lot of ‘down with this’ and ‘to hell with that’. They definitely want to break with structures. Many of them were written when they were just 20 or 21 years old. We now look at these as texts by world famous artists but at the time, often the artwork wasn’t even there yet. They were just angry young people.”

Blanchett continues: “But you know, what I admire, whether or not there are certain things in the manifestos that I might find personally repugnant, there’s something brave and noble about having the courage to commit to something. I think the artist understands that you have to invest in something, absolutely.”

Blanchett certainly invests here. They shot Manifesto in just 11 days on locations in and around Berlin, which often meant playing being, say, the old Scottish man in the morning and the newsreader in the afternoon, then preparing the next days’ accents in the hotel room in the evening. Even simply learning all her lines was a challenge, she says. They got by with the help of a voiceover, hidden smartphones, earpieces and giant cue cards. Still, there are sizable tracts Blanchett addresses straight to camera. Often they only had time to do one extended take.

She seems to have enjoyed the change of pace: “I always work best – which is why I love theatre – where it’s just: ‘The audience is there. It doesn’t matter whether I feel like doing this or not. I’ve just got to do it.’ It’s got the adrenaline of standup.”

The political landscape has shifted towards populism and against “elitism”, Rosefeldt suggests, which puts topics such as art history in the firing line. “Every populist wants to cut down cultural budgets and educational budgets for a good reason: because they need stupid minds to be manipulated and to become sheep of consumerism.”

Blanchett agrees: “It’s that notion of ‘elitism’, provocative ideas being the domain of the educated, and keeping those ideas separate from the people who they’re trying to keep uneducated and disenfranchised. This is why artists’ voices are being taken away, and the social and political discourse we’re dealing with at the moment is so utterly simplistic.

“As much as Manifesto is about the role of the artist, I think it also asks, ‘What’s the role of the audience?’ Often their attention span is underestimated, and if you’re constantly shooting below the intelligence or the capability of an audience then the work gets thinner and thinner.”

So how does she square that with appearing in Thor: Ragnarok?

She laughs. “Yeah. All things are an experiment, aren’t they? If you know the outcome then why do it really? There’s got to be an element of risk and fun and fuck-up. That’s what keeps me energised: involvement in projects of different scale and ambition.”

Is there a certain dissonance between, let’s say, Manifesto Blanchett and Thor Blanchett?

“Well, I haven’t done that many effects movies, believe it or not,” she insists. “I went in as wide-eyed and bushy tailed to [Thor] as I did into this. And also, it shouldn’t be thus, but I felt like I was speaking to different audiences.”

Perhaps she’s channelling Tristan Tzara’s Dada Manifesto: “I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air.”

In Dadaist spirit, then, Manifesto acknowledges and celebrates contradiction, which is another way of saying it has its cake and eats it. It can be appreciated as a representation of challenging ideas and ideals, or as a surreally entertaining one-woman sketch show that might just expose audiences to some provocative ideas, maybe even inspire them to write their own manifesto.

“Whether you agree or disagree with the notion of a manifesto, it’s an effort to engage,” says Blanchett. “It’s an encouragement. It’s about something.”

Rosefeldt concurs: “Something that started as a love declaration to these writings has almost bcome a call for action. You feel like it’s time for action again.”