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Studio Michael Müller

Work Series:
Himmelheber

This series deals with an ancient, presumably extinct civilization: the Himmelheber [Sky-Bearers]. The Himmelheber were first mentioned in the Field Notes from Africa (published 2004) by the German ethnologist of the same name, Hans Himmelheber (1908–2003). They are described as being a “repeatedly extinct and for unknown reasons and in an unknown way reborn civilization.” The scientist refers to a document from the 9th century, which he found during a 1933/34 expedition to a rock plateau near Abidjan (Ivory Coast). Himmelheber does not provide details of why he decided to give the civilization his own name—a provocative break with scientific practice—as well as why he concealed his find from the public for such a long time.

  • Hoover Generation Future Smart Pure White & Luxor Black / Smokey Grey Transparent (2), 2017/2018
    Two vacuum cleaners, acrylic paste, coconut fiber, rigid foam, paint, papier mâché, black paste (wood, blood, urine, hair, coal, bone meal, bone glue, plant fibers, egg yolk, fat, graphite and semen), acrylic, fluorescent lights
    152,5 × 139,5 × 58,5 cm

  • “Bau-Lho-Vu” & “Bau-Cho-Pa”, 18th century/2018
    Wood, bone meal, urine, bovine blood, coal, wood, egg yolk, bone glue
    each: 51 × 27,5 × 18 cm

  • Doppelmaske, 2018 (video still)
    Video loop, sound
    14:37 min.

  • “Retour/Return”, c. 1780/2018
    Wood, natural pigments, styrodur, bone meal, urine, bovine blood, coal, egg yolk, bone glue, iron
    79 × 45 × 28 cm

  • Stripping the Force, exhibition view, Kunsthalle Bremen, 2018

  • Kunst als Erfindung, 2018
    Lacquer, emulsion paint, virgin blood, bone meal, urine, bovine blood, coal, wood, egg yolk, bone glue on Belgian linen
    186,5 × 146,8 × 5 cm

  • “Ketam Pak-wo“, c. 1970 (sculpture) / 2018 (video)
    Wood, satellite, aluminum, bone meal, urine, bovine blood, coal, wood, egg yolk, bone glue, 7 televisions, midi player
    Film processing: Hippolyte Moulun
    Sounds: Sound recordings by Hans Himmelheber and Hubert Fichte
    110 × 299 cm
    98:00 min.

  • Zeichnung aus dem Hochland von Peru, 2016
    Pencil on paper
    25,2 × 35,9 × 3,5 cm

  • Vupa, Vulcano and Vulva, 2018
    Screen print, graphite and lacquer on glass
    185,5 × 145,5 × 5,4 cm

  • Ausgrabung in Mandishah, Al Wahat Al Baharia, Al-Dschiza, Ägypten 1971, Nummer 4
    from Todesstudien zu Himmelheber, 2015/2016
    Pencil on Paper
    Six-part work, each: 51,3 x 39 x 3,5 cm

  • Goldener T-Träger, 2018
    24 karat gold leaf on ceramic
    50 × 40 × 40 cm

Since the publication of Hans Himmelheber’s book, scientists have compiled three further instances of this previously entirely unknown civilization. These include several artefacts used for cult purposes (golden helmets, rods, small figures; 1st century, Peru), a drawing (16th century, Jakarta), as well as video material (presented by Clara Mayer-Himmelheber, location and date of the recordings are unknown), which are meant to provide evidence of the existence of the Himmelheber in the 20th century. Today, these sparse clues are the only knowledge we have concerning this strange tribe.

Among the characteristics of the Himmelheber are a voluntary death by choice (always in autumn and at a river, always chaperoned by a companion, the “Tarung”) and a hermaphrodite priesthood that is meant to connect to the Dram, the “In-Between”, where the Gods and ancestors are located, a realm between life and death. The people of the Himmelheber have bequeathed objects of peculiar beauty, which are fully coated with a coarse, dark paste that consists of blood, bone meal, hair, urine and sperm (materials that are derived—and secreted—from the vulnerable, “open” body). Presumably, the paste had a ritual function and was (or still is) used by priests during religious acts.

The Himmelheber series was first presented comprehensively in the exhibition Stripping the Force at the Kunsthalle Bremen in 2018.