主演：未知
导演：詹姆斯·班宁 James Benning
简介：2018年9月13日下午晚些时候，飓风佛罗伦萨袭击北卡罗来纳州12小时前，美国国旗的两小时监控录像被记录下来。这段录像是在煎锅塔（frying pan tower）拍摄的，这是一座退役的灯塔，位于距北卡罗来纳州海岸39英里的大西洋上的煎锅浅滩上。 Berlin International Film Festival Forum Expanded group exhbition 柏林国际电影节论坛延展单元群展 展览名：ANTIKINO (The Siren’s Echo Chamber)； 译名：安提基诺(警报器的 回音室) 展览时间：2019.02.06-03.09 展厅地址：silent green / Ebensperger Rhomberg / Luxoom Lab 开幕式时间：2019.02.06 18:00(展厅开放) 19:00(开幕式)。 开幕式地点：silent green Betonhalle 策展团队：Stefanie Schulte Strathaus（首席策展人）、Anselm Franke、Maha Maamoun、Ulrich Ziemons
主演：未知
导演：詹姆斯·班宁
简介： James Benning’s first film called The United States of America was a 1975 trip across the country, capturing its scenery through a car windshield. This second one also crisscrosses the nation, but without a car, carving it up instead into a series of static shots of just under two minutes, one for each state, presented alphabetically, from Heron Bay, Alabama to Kelly, Wyoming. The names of the places are nondescript, but the images attached to them are anything but, immaculately composed shots of landscape, cityscape and the spaces in between. As we move from A to Z, the images coalesce into a portrait of today’s USA, tracing out its fault lines almost in passing: fenced-off facilities, a river bed running dry, factories and refineries, run-down streets and gas stations, a camp under a bridge. The past is there too, seeping up through the songs and speeches that sporadically pierce the background noise or the motifs that evoke a whole career; the clouds, trains and cabins are stand-ins for films, not just states. As always, there’s time for more abstract thoughts too: each image may stand for a state, but representativity is slippery. Which state is more cinematic than the rest?
主演：未知
导演：詹姆斯·班宁
简介：A portrait of an art institution as a cinematic landscape: in a succession of static shots, James Benning explores the buildings and terrain of the California Institute of the Arts, where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.
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