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The manifesto as an art form

The film installation Manifesto, which will be on display at the Hamburger Bahnhof in Berlin these days, addresses some of the many paradoxes that stick to the manifesto genre – both in its political and artistic setbacks. 

When the Occupy International Assembly published its GlobalMay Manifesto in The Guardian in May 2012, the reactions within the movement were partly strong. The manifesto sought to list what Occupy stood for, with free health care and education, reduced working hours and taxes on financial transactions among the requirements. Furthermore, human rights had to be updated, and new, radically democratic versions of global organizations such as the UN had to be established. Critics of the GlobalMay Manifesto felt that the design of this document was a declaration of bankruptcy. Gathering Occupy under one agenda would undermine the movement, it was thought. The strength of Occupy was precisely that it did not make specific demands, and all the movement could agree on was the reassessment of global capitalism. . .

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