This is one of the several known imaginary and incomplete maps of an archipelago formed through a number of years, between Alentejo and the Azores. There are evidently many variants of this map of currents: a few coordinates can be found in the archive, of which each version of the map is an alternative guide; other references seem to have been lost, with only translated transcriptions of second hand reports presently remaining. The inhabitants of these islands reside in Doc’s Kingdom (not the “kingdom of documentary”, but a reference to the homonymous film Robert Kramer shot in Portugal): along eleven editions of Doc’s Kingdom International Seminar on Documentary Film, some of them, such as Erika Kramer, have returned several times to the meeting point. Others didn’t have the chance to meet, but are nevertheless participating in a multilingual conversation that never took place. The map is a small deposit of lies; a radio-graph that extracted each voice from a collective living flux. On the different islands, several domains are being discussed: politics, ethnography, art, literature, economy, cinema, documentary, fiction… Next to a volcano, “the idea of bringing these persons to this place” is justified once again. In the center of the archipelago, the conversation focuses on the relations between truth and lie, image and History, the imponderability of present, the elements of cinema. Finally, we don’t have the chance to listen to Sergei Dvortsevoy repeating (what he said during the second journey of the first gathering, on October 12th, 2000) that “each cut is a lie, and… in every cut we kill life…” Between two cuts, she who speaks gathers the whole community as a place that can condense all the memory in the world. The museum, the threshold, the courtyard and the spiral are some of those places that can be found on this map.
We were tired of the voice of God [6’40]
David MacDougall sobre Under the Men’s Tree (1973, 15’) e Lorang’s Way (1979, 63’)
Everything is one [25’14]
Cynthia Beatt, Rudolf Thome, José Manuel Costa, Federico Rossin, Stephanie Spray e Pacho Velez, sobre Beschreibung einer Insel (1979, 192’) e Manakamana (2013, 118’)
Io sono stato sempre dalla parte dei perdenti [1’45]
Giuseppe Morandi sobre I Paisan (1956-91, 128’)
Di fianco, in faccia [3’10]
Giuseppe Morandi sobre I Paisan (1956-91, 128’)
Abbasso la guerra, viva la pace [2’06]
Giuseppe Morandi sobre I Paisan (1956-91, 128’)
Uma pessoa colectiva [17’55]
Eduarda Dionísio sobre Giuseppe Morandi
Risk taking [3’51]
Erika Kramer sobre Balaou (2007, 77') de Gonçalo Tocha
Slowing down [2’58]
Erika Kramer sobre Natureza Morta (2004, 72’) de Susana de Sousa Dias
Walking in and out [4’52]
Erika Kramer sobre Birth of the Seanéma (2004, 70’) de Sasithorn Ariyavicha
Looking down [5’51]
Erika Kramer e Robert Fenz sobre Vertical Air (1996, 26’)
Staying clean [3’20]
Erika Kramer sobre Qu’il reposent en revolte (des figures de guerre) – work in progress (2009, 60’) de Sylvain George
Bringing films together [3’31]
Erika Kramer sobre Ruínas (2009, 60’) de Manuel Mozos e California Company Town (2008, 77’) de Lee Anne Schmitt
O primeiro impulso [1’46]
Gonçalo Tocha sobre Balaou (2007, 77')
Tout cela se fait sans raison [5’34]
Jean-Claude Rousseau e Cyril Neirat sobre La Vallée Close (1995, 140’)
Muito tempo à procura [3’12]
Susana de Sousa Dias sobre Natureza Morta (2004, 72’)
Cinema-mensonge [3’54]
Edgardo Cozarinsky sobre La guerre d’un seul homme (1982, 105’)
Don’t trust those films [2’32]
Hartmut Bitomsky sobre Deutschlandbilder (1983, 60’)
A collection of things that speak to each other [1’58]
Lee Anne Schmitt sobre California Company Town (2008, 77’)
Uma espécie de arquivo do que eu não consegui fazer [1’36]
José Manuel Costa e Manuel Mozos sobre Ruínas (2009, 60’)
Uma montagem de mentiras e de verdades [7’21]
João Mário Grilo sobre O Tapete Voador (2008, 56’)
O resto [6’21]
Miguel Gomes sobre Aquele Querido Mês de Agosto (2008, 150')
This is one of the several known imaginary and incomplete maps of an archipelago formed through a number of years, between Alentejo and the Azores. There are evidently many variants of this map of currents: a few coordinates can be found in the archive, of which each version of the map is an alternative guide; other references seem to have been lost, with only translated transcriptions of second hand reports presently remaining. The inhabitants of these islands reside in Doc’s Kingdom (not the “kingdom of documentary”, but a reference to the homonymous film Robert Kramer shot in Portugal): along eleven editions of Doc’s Kingdom International Seminar on Documentary Film, some of them, such as Erika Kramer, have returned several times to the meeting point. Others didn’t have the chance to meet, but are nevertheless participating in a multilingual conversation that never took place. The map is a small deposit of lies; a radio-graph that extracted each voice from a collective living flux. On the different islands, several domains are being discussed: politics, ethnography, art, literature, economy, cinema, documentary, fiction… Next to a volcano, “the idea of bringing these persons to this place” is justified once again. In the center of the archipelago, the conversation focuses on the relations between truth and lie, image and History, the imponderability of present, the elements of cinema. Finally, we don’t have the chance to listen to Sergei Dvortsevoy repeating (what he said during the second journey of the first gathering, on October 12th, 2000) that “each cut is a lie, and… in every cut we kill life…” Between two cuts, she who speaks gathers the whole community as a place that can condense all the memory in the world. The museum, the threshold, the courtyard and the spiral are some of those places that can be found on this map.
We were tired of the voice of God [6’40]
David MacDougall on Under the Men’s Tree (1973, 15’) and Lorang’s Way (1979, 63’)
Everything is one [25’14]
Cynthia Beatt, Rudolf Thome, José Manuel Costa, Federico Rossin, Stephanie Spray and Pacho Velez, on Beschreibung einer Insel (1979, 192’) and Manakamana (2013, 118’)
Io sono stato sempre dalla parte dei perdenti [1’45]
Giuseppe Morandi on I Paisan (1956-91, 128’)
Di fianco, in faccia [3’10]
Giuseppe Morandi on I Paisan (1956-91, 128’)
Abbasso la guerra, viva la pace [2’06]
Giuseppe Morandi on I Paisan (1956-91, 128’)
Uma pessoa colectiva [17’55]
Eduarda Dionísio on Giuseppe Morandi
Risk taking [3’51]
Erika Kramer on Balaou (2007, 77') by Gonçalo Tocha
Slowing down [2’58]
Erika Kramer on Natureza Morta (2004, 72’) by Susana de Sousa Dias
Walking in and out [4’52]
Erika Kramer on Birth of the Seanéma (2004, 70’) by Sasithorn Ariyavicha
Looking down [5’51]
Erika Kramer and Robert Fenz on Vertical Air (1996, 26’)
Staying clean [3’20]
Erika Kramer on Qu’il reposent en revolte (des figures by guerre) – work in progress (2009, 60’) by Sylvain George
Bringing films together [3’31]
Erika Kramer on Ruínas (2009, 60’) by Manuel Mozos and California Company Town (2008, 77’) by Lee Anne Schmitt
O primeiro impulso [1’46]
Gonçalo Tocha on Balaou (2007, 77')
Tout cela se fait sans raison [5’34]
Jean-Claude Rousseau and Cyril Neirat on La Vallée Close (1995, 140’)
Muito tempo à procura [3’12]
Susana de Sousa Dias on Natureza Morta (2004, 72’)
Cinema-mensonge [3’54]
Edgardo Cozarinsky on La guerre d’un seul homme (1982, 105’)
Don’t trust those films [2’32]
Hartmut Bitomsky on Deutschlandbilder (1983, 60’)
A collection of things that speak to each other [1’58]
Lee Anne Schmitt on California Company Town (2008, 77’)
Uma espécie by arquivo do que eu não consegui fazer [1’36]
José Manuel Costa and Manuel Mozos on Ruínas (2009, 60’)
Uma montagem by mentiras and by verdades [7’21]
João Mário Grilo on O Tapete Voador (2008, 56’)
O resto [6’21]
Miguel Gomes on Aquele Querido Mês by Agosto (2008, 150')