HR Giger (1940–2014) is best known for the nightmarish creatures and environments of 1979’s Alien, and more broadly for his transgressive (yet deeply stylized and stylish) paintings on broadly “biomechanical” themes. Much of Giger’s work, which in addition to the paintings and drawings for which he was best known included sculpture, industrial art, and even furniture, was created in his Zurich home studio, which he transformed over the decades into a real-world embodiment of his aesthetic.
Noriyoshi Ohrai (1935-2015) was a Japanese poster artist and illustrator known for his vivid work that elevated mainstream sci-fi and action tropes into hallucinatory, richly detailed compositions. In addition to his well-known posters for Star Wars and Godzilla, he created promotional artwork for thousands of films from Japan and around the world.
WITH A TOTAL population of 56,000 spread across a landmass twice the size of all other Nordic countries combined, Greenland’s overall density hovers at just over zero. The precursors to Greenland’s modern-day inhabitants were settlers both indigenous and European, dating back millennia and including the Saqqaq, Independence I-II, and Dorset cultures, as well as the Greenlandic Vikings who settled in the far south in 982 (led by Erik the Red). All these prior cultures and settlements, however, disappeared, leaving only archaeological records.
Q Berlin 2022, “the metropolitan conference for the immediate present”, took place at the International Congress Center in Westend on September 15-16, featuring a hybrid assortment of talks, performances, and other events. The massive, brutalist ICC was built in 1979 and closed in 2014, though it is occasionally used for one-off events.
The Großer Heineberg is a 56-meter hill in Potsdam-Bornim (peak at 52.435010, 12.988588, map below). After WWII it was used as a dump for building materials, and while the vegetation has generally made a comeback the soil is still filled with pieces of brick, tile, and glass, with larger piles of rubble appearing frequently.
AT OUR CURRENT moment in third decade of the 21st century, the relationship between technology and conservation could generously be described as uneasy: decades of greenwashing have seen the goodwill behind formerly sound words like “eco”, “organic”, and “autonomous” erode like so much sand. Current technological advances, from electric / autonomous vehicles to drones to the self-perpetuating slurry of metaverse and NFT content, pay occasional lip service to the impending wave of climate catastrophes, while rarely working to counteract it, and in some cases even accelerating it.
ORIGINALLY HAILING FROM Sydney, Australia, photographer George Byrne traveled extensively before finally settling in Los Angeles. The city became both his home and his subject (to the point of near-exclusivity, with rare exceptions made for Miami), and over the past decade he has developed a distinctive style and method, in which he digitally edits, alters, and blends photos into seamless, uncanny portmanteaus. The end result is a dreamlike series of bright, colorful locales that do not quite exist in the real world, appearing temporarily abandoned or forgotten, equal parts idyllic and abject.
FOUNDED IN BERLIN in 2017, Rixdorf Editions is an independent press dedicated to publishing neglected German texts of the late 19th and early 20th century in new English translations. In focusing on previously untranslated works of the pre-Weimar “Wilhelmine” era, the press sheds light on a literary era that is often overlooked, despite having produced writing as startlingly creative and groundbreaking – if not more so – than the more famous movements that would follow.