(c) Julian Rosefeldt, Manifesto (2015), image courtesy the artist

Julian Rosefeldt: Manifesto


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9 Dec 2015 – 14 Mar 2016

A survey exhibition of pre-eminent moving image artist, Julian Rosefeldt, comprises the world premiere of Manifesto (2015) featuring Cate Blanchett alongside three recent video installations.

Rosefeldt’s brand-new thirteen-channel work Manifesto questions the role of the artist in society today. Australian actor, Cate Blanchett, performs the manifestos as a series of striking monologues.

The installation draws on the writings of Futurists, Dadaists, Fluxus artists, Situtationists and Dogma 95, and the musings of individual artists, architects, dancers and filmmakers. Passing the philosophies of Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Elaine Sturtevant, Sol LeWitt, Jim Jarmusch, and other influencers through his lens, Rosefeldt has edited and reassembled a collage of artists’ manifestos.

Manifesto has been proudly commissioned by ACMI in partnership with the Art Gallery of New South Wales, Hamburger Bahnhof - Museum für Gegenwart, Berlin and Sprengel Museum, Hannover, and Ruhrtriennale – Festival of the Arts.

Our particular thanks are extended to the Verein der Freunde der Nationalgalerie, the Freunde des Sprengel Museum Hannover e.V. and the Medienboard Berlin-Brandenburg, as well as to the co-producers, the Burger Collection Hong Kong and the Ruhrtriennale, all of whom generously supported this project. Manifesto was produced in cooperation with the Bayerischer Rundfunk.   

About the Artist

A Berlin-based artist who came to prominence on the cusp of the 21st century, Julian Rosefeldt is renowned for his visually opulent and meticulously choreographed moving image artworks. Inspired equally by film, art and pop-culture histories, Rosefeldt creates complex and compelling experiences that combine narrative and non-linear video installations. Often projected simultaneously onto several screens, he carries viewers into surreal, theatrical realms, where the inhabitants are absorbed by the rituals of everyday life. Within these episodic arrangements, Rosefeldt uses familiar cinematic tropes and devices to engage with dislocation, alienation and social and psychological disruption. Whilst his narratives are often ambiguous and elliptical, Rosefeldt employs humour and satire to seduce audiences into familiar worlds made strange.

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