The Intertextual Aesthetics of Contemporary Art Manifestos

Self-Referentiality, Meta-Reflection, and Parody in Martine Syms’s “The Mundane Afrofuturist Manifesto” (2013, 2014, 2015) and Julian Rosefeldt’s Manifesto (2015, 2017)

Abstract

Following a period of decline into near obscurity, the manifesto has reemerged in the 21st century as a popular and provocative cultural form. No longer confined to printed pamphlets, contemporary manifestos are often published online, enabling new modes of anonymity, inclusivity, and intertextual engagement. While their tone may range from earnest to ironic, all manifestos share a defining impulse: the mobilization of a collective “we” to challenge dominant structures through bold, declarative rhetoric. In contemporary practice, however, this rhetoric is frequently accompanied by a self-conscious aesthetic—one that reflects on the manifesto’s own conventions, cultural authority, and historical legacy. This essay examines two key manifestos that exemplify such aesthetic strategies: Julian Rosefeldt’s theatrically bombastic art installation and feature film Manifesto (2015, 2017) and Martine Syms’s satirical “The Mundane Afrofuturist Manifesto” (2013, 2014, 2015). These works show how contemporary manifestos are deeply self-aware, using intertextuality, meta-reflection, and parody to engage with and critique their own form. Through intertextual dialogue, they expose the manifesto’s limitations; meta-reflection allows them to question their rhetorical excesses and effectiveness, while parody exposes and subverts established conventions. Where Syms deconstructs the manifesto from within—quietly undermining its radical posture through irony and restraint—Rosefeldt approaches the genre through theatrical excess. Alongside digital applications like the “Manifesto Machine” and the card game MANIFESTO!, these works invite playful engagement while also revealing how easily the genre’s once-revolutionary rhetoric can be modularized, rebranded, and repurposed.