René Habermacher


The “TRANS-ANKH” by René Habermacher represents an interpretation of the Ancient Egyptian symbol of rebirth, the ‘ankh’, transposing the cohesion of race and gender with apotropaic votive genitals of all sexes strung together into a modern era ‘crepundia’. The term derives from the Latin word ‘crepare’ “to rattle or make a noise” and is used for a group of amulets strung together to a charm bracelet to avert the evil eye. The TRANS-ANKH thus both attracts attention and at the same time averts malignant forces. Created by African culture, the ‘ankh’ signifies the linkage of life and immortality in Ancient Egypt. while the ankh is a widely known hieroglyph, it was used as a protective votive or ‘nazar’ worn by Egyptians or commonly held in the hands of ancient Egyptian deities and Pharaohs.

Several theories speculate about its association: Some see the ankh and the the sacral knot of Isis to represent the same thing: promising eternal life through personal resurrection. Ankhs were traditionally placed in sarcophagi to ensure life after death. Another hypothesis claims that the ankh represented male and female reproductive organs interlinked into a single sign.

The powerful symbol of the ankh transgressed across cultures and was borrowed by early Christians who used it in the form of a fish as a symbol for life after death. It subsequently lost its hoop at the top and became the Christian cross and the symbol itself underwent a rebirth: The ankh came into widespread use in Western culture in the 1960s often used as a symbol of African cultural identity.


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