@raalkivictorieux Master Ra’al Ki Victorieux
“Manifesto es una película del 2015 escrita, producida y dirigida por Julian Rosefeldt, protagonizada por Cate Blanchett en 13 roles que encarnan diversos manifiestos artísticos y políticos. Una obra que despierta reflexiones sobre la historia del arte y en la ideología.”
If you are interested in ideology, art history, and the voices that have shaped the feeling of the recent decades, Manifesto is a film for you. This 2015 Australian-German film was written, produced, and directed by Julian Rosefeldt, and protagonized by Cate Blanchett in 13 different roles, performing various manifestos. The film was shot over 12 days in December 2014, in locations in and around Berlin. It premiered and screened at the Australian Centre for the Moving Image from December 9, 2015 to March 14, 2016. A 94-minute feature version premiered at the Sundance Film Festival in January 2017.
The film integrates various types of artist manifestos from different periods with contemporary scenarios. Political and artistic Manifestos are depicted by 13 different characters mostly female, just one of them is a homeless man. Between the women, we can see a housewife, a punk, and others in roles defined by their work: school teacher, factory worker, choreographer, newsreader, scientist, and puppeteer.
The conceptual art texts, known as Manifestos, which make the script of the film, are written mostly by men. Among the few female authors, we can name Olga Rozanova, Elaine Sturtevant, Adrian Piper, and Mierle Laderman Ukeles. We can ask if this film asks us some questions, such as: Have women assimilated patriarchal ideology, when during decades her voice was suppressed? Is this scrip, with this actress a parody of the absence of women in our recent history? Perhaps is a detonating seed to make us think about the historical facts, beyond genre representation? Oh, but women, even when they were not the official authors of the XX-century ideology, have domestic and social leadership as we see in the dinner scene, and as Blanchett in the story, they usually have an audience.
Is there a relationship between this obsession with males and time? Why is so recurrent the focus on the present, deprecating the value of the imagination/future, and nostalgia/past? Maybe the surrealists embraced a more feminine point of view when signaling the unconscious and dreamlike as relevant? Nevertheless, even when the script gives us a revival of manifestos that deny the past, the film does precisely that: to look at the past, to document it, to sublime it. It gifts us tools that facilitate the reflection on the echos and crossroads between these authors, in the imprint they have carved on their students, in the response they generated on artists and theoreticians, and in the mental roads they opened for all of us. Also, this film allows us to have the background to expand the future creative alternatives, personal alternatives, or collective dreams.
When we pause, and think about our art history and the main ideologies in social psychology, this takes us to open our attention, the eye of the mind to provocative ideas, to the unconscious, the dream, the banal, the social or revolutionary, the grandiose or minimal.
Rosefeldt presents a selection of Manifestos:
1848. Karl Marx / Friedrich Engels, Manifesto of the Communist Party.
1909. Filippo Tommaso Marinetti. The Foundation and Manifesto of Futurism.
1910. Giacomo Balla. Umberto Boccioni. Carlo Carrà. Luigi Russolo. Gino Severini. Manifesto of the Futurist Painters.
1912. Wassily Kandinsky. Franz Marc. Preface to the Blue Rider Almanac.
1913. Guillaume Apollinaire. The Futurist Antitradition.
1914. Wyndham Lewis. Manifesto.
1914. Antonio Sant’Elia. Manifesto of Futurist Architecture.
1916. Kazimir Malevich. Suprematist Manifesto.
1917. Olga Rozanova. Cubism, Futurism, Suprematism.
1918. Tristan Tzara. Dada Manifesto.
1918. Richard Huelsenbeck. First German Dada Manifesto.
1919. Alexander Rodchenko, Manifesto of Suprematists and Non-Objective Painters.
1919. Kurt Schwitters. The Merz Stage.
1920. Naum Gabo. Antoine Pevsner. The Realistic Manifesto.
1920. Philippe Soupault. Literature and the Rest.
1920. Tristan Tzara. Manifesto of Monsieur Aa the Antiphilosopher.
1920. Francis Picabia. Dada Cannibalistic.
1920. Georges Ribemont-Dessaignes. The Pleasures of Dada.
1920. Georges Ribemont-Dessaignes. To the Public.
1920. Paul Éluard. Five Ways to Dada Shortage or two Words of Explanation.
1920. Louis Aragon. Dada Manifesto.
1920. Bruno Taut. Down with Seriousism!
1921. Bruno Taut. Daybreak.
1922. Dziga Vertov. WE: Variant of a Manifesto.
1924. André Breton. Manifesto of Surrealism.
1929. André Breton. Second Manifesto of Surrealism.
1932. John Reed Club of New York. Draft Manifesto.
1946. Lucio Fontana. White Manifesto.
1948. Constant Nieuwenhuys. Manifesto.
1948. Barnett Newman. The Sublime is Now.
1960. Guy Debord. Situationist Manifesto.
1961. Claes Oldenburg. I am for an Art.
1963. Stan Brakhage. Metaphors of Vision.
1965. Yvonne Rainer. No Manifesto.
1966. Robert Venturi. Non-Straightforward Architecture: A Gentle Manifesto.
1967. Sol LeWitt. Paragraphs on Conceptual Art.
1969. Sol LeWitt. Sentences on Conceptual Art.
1969. Adrian Piper. Idea, Form, Context.
1969. Mierle Laderman Ukeles. Maintenance Art Manifesto.
1963-1978. Emmett Williams. Philip Corner. John Cage. Dick Higgins. Allen Bukoff. Larry Miller. Eric Andersen. Tomas Schmit. Ben Vautier. George Maciunas. Fluxus Manifesto.
1980. Coop Himmelb(l)au. Architecture Must Blaze.
1993. Lebbeus Woods. Manifesto.
1995. Lars von Trier. Thomas Vinterberg. Dogme 95.
1999. Elaine Sturtevant. Shifting Mental Structures.
1999. Wermer Herzog. Minnesota Declaration.
2002. Jim Jarmush. Golden Rules of Filmmaking.
2004. Sturlevant. Man is Double Man is Copy Man is Clone.
The project was commissioned by the Australian Centre for the Moving Image, in partnership with Art Gallery of New South Wales, Museum für Gegenwart, Sprengel Museum, and Ruhrtriennale Festival of the Arts. The film was subsidized by the Medienboard Berlin-Brandenburg with €90,000. It is a co-production of the Ruhrtriennale, Schiwago Film GmbH, and the Berlin National Gallery, in cooperation with Bayerischer Rundfunk, the Burger Collection Hong Kong, and the Medienboard Berlin-Brandenburg.
It was a very sweet touch to see children almost at the end of the movie. As a homeless old man opens the film, a symbol of past ideologies, of crazy irreconcilable debates…. We see the future in those small humans going to elementary school. Let’s hope they learn to navigate through a world of ever-changing political or artistic arguments, let’s hope they have a heart full of strength and transcendent values. Let’s pray for them to be good humans: who choose maybe not always to be right, but always to be kind.
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