Dark Star


Dark Star: H.R. Giger’s World (2015), at IMDb. Here’s a short trailer.

It seems like a suitable frightday night topic — the film impressively conveys the role of raw terror in producing these images. ‘Perinatal trauma’ according to one voice, although that attains very limited purchase on Giger’s ‘biomechanoid’ obsessions. While biography and psychology are dubious guides into cultural products, the account of the young Giger’s horrified fascination with a museum mummy is highly engaging.

All my problems with Giger come from the surrealism — an aesthetic posture to be rigorously damned as facile. If that level of his work is considered a mere vehicle for more profound (or abstract) inclinations, much remains to explore. The movie explicitly describes his work as a gateway into the dark (nigredo), docked to hermetic traditions. Giger’s techno-prosthetically mummified Egyptian princess manifestly draws him into the crypt of transcendental time.

It’s utter degeneracy, of course — but I’m loathe to say that as if it’s a bad thing.

December 11, 2015admin 14 Comments »

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14 Responses to this entry

  • Dark Star | Neoreactive Says:

    […] Dark Star […]

    Posted on December 11th, 2015 at 4:21 pm Reply | Quote
  • Thales Says:

    It’s a good watch. I’ve certainly enjoyed his unique style for decades, but it’s deconstruction lays bare its ultimate banality. His iconic intersection of the godess, mummy and of course biomechanical sexuality reveals the inherent specificity of terror/fetish. There the lines are crisp; there’s no airbrushing: it’s either your nightmare, or it isn’t.


    Posted on December 11th, 2015 at 4:32 pm Reply | Quote
  • Skilluminati Says:

    I will always credit Hans Rudolf with imparting a warped, but viscerally accurate, conception of Levels of Scale unto my pre-adolescent brain.

    I don’t think the most captivating aspect of his work, especially those landscape series, is the insectoid mechanics or brutalist sexuality — it’s the forced perspective imparting a microbial POV upon the beholder. I’ve always had the sense Giger’s visions are, in some sense, how our billions of passengers and parasites behold us, their decaying & (relatively) immortal Gods.

    That said: Lilith is his icon for the ages, though. Thank Vishnu for cocaine & Li Tobler, perhaps not in that order.


    Posted on December 11th, 2015 at 4:50 pm Reply | Quote
  • Alex Says:

    All in the best possible taste, lacking demented proletarian vitality.


    admin Reply:

    Loving the whole “basic message is impeccably leftist” spin cycle they throw the bio-hybrid Nazi schoolgirls into.


    Hattori Reply:

    The Chap brothers once bought a bunch of rare Goya prints from the disaster of war series and defaced them for their little freak show. They are the lowest absolute scum.


    Grotesque Body Reply:

    Not so keen on the reptilian Christ and Madonna, too 90s Marilyn Manson.


    Posted on December 11th, 2015 at 8:47 pm Reply | Quote
  • Dark Star | Reaction Times Says:

    […] Source: Outside In […]

    Posted on December 11th, 2015 at 9:02 pm Reply | Quote
  • Grotesque Body Says:

    “surrealism — an aesthetic posture to be rigorously damned as facile.”



    admin Reply:

    Humanistic recuperation of the abstract aesthetic line.


    Erebus Reply:

    Most of the surrealists were frauds, but I think that there is at least one noteworthy exception: Giorgio de Chirico was both a fantastic artist and a man of admirable character. He turned his back on surrealism even before it became a byword for trite banality, he was hated by the French avant-garde for his return to tradition, and he remained a “reactionary” neoclassical artist until the end of his life. He was also very profoundly influenced by the right wing, became the most influential artist associated with the Novecento fascist art movement (thus was also associated with Evola), and would likely be among us today if he were alive.

    …It’s really as simple as this: Surrealism died a dog’s death the moment De Chirico left that movement, for he was the greatest artist ever associated with it. And by a very wide margin. (In fact, the aesthetic template associated with surrealism — dim dreamscapes, vague mannequin-like figures, random items, lengthened shadows, and so on — was invented by De Chirico long before “surrealism” existed at all.)

    It’s worth adding that, in addition to his contributions to the visual arts, De Chirico’s book “Hebdomeros” is without question the most successful example of surrealist literature. It’s really a very interesting book.

    Neoreaction calls for its own Novecento, by the way — we could use a “return to order” after this period of excessive degradation and decadence in the arts.


    SVErshov Reply:

    art is a fraud per se in. in present art scene it is hard to find even one person, who can be respected.

    Vincent Desiderio perhaps


    Posted on December 11th, 2015 at 10:51 pm Reply | Quote
  • Hattori Says:

    I’d be curious to know what you think of Beksinski. He assumes the figuration even more than Giger. Most falls into surrealism boringness but there is some real magic in some of his stuff. Odd Nerdrum is another guy in the same sort of genre.

    I’ve thought a lot about channeling an altered state experience artistically back in uni but I could never reach at a satisfactory place.
    Expressionism (including the abstract) had a tendency to indulge in the ritual as a process but the end result just doesn’t do it for me. I cant like most surrealism either, too literary.

    I say bring on VR too. People using Occulus report visceral physical responses during the experience. It’s obvious a lot of out of body madness lies in that direction.


    SVErshov Reply:

    Beksinski art is a level of deviantart.com . unfortunately in his time there was no deviantart, so, he does not have a chanse to understand that. Difference between him and Giger is that Giger at least understand why he doing it, man with a plan.


    Posted on December 12th, 2015 at 4:13 am Reply | Quote

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