“I loved the movie,” I told Cate Blanchett.
“Is it a movie?” Cate Blanchett replied.
“Um…” I said, still shaking her hand.
“Really,” she said. “I was hoping you could tell me.”
In another context, that could have been a trick question. But I was meeting with the Artist Formerly Known as Carol to discuss “Manifesto,” and there are no easy answers when it comes to the her beguiling collaboration with German video pioneer Julian Rosefeldt (whom she met at a gallery opening six years ago and vowed to work with that same night). In fact, it could be argued that the movie — or not movie — exists to embarrass easy answers, to encourage critical thinking, to challenge our preconceptions of what art should be and what art should be called.
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