{"id":24775,"date":"2024-12-30T14:06:36","date_gmt":"2024-12-30T13:06:36","guid":{"rendered":"https:\/\/www.schirn.de\/schirnmag\/these-boots-are-made-for-walking\/"},"modified":"2025-03-04T12:49:15","modified_gmt":"2025-03-04T11:49:15","slug":"these-boots-are-made-for-walking","status":"publish","type":"magazin-artikel","link":"https:\/\/www.schirn.de\/en\/schirnmag\/these-boots-are-made-for-walking\/","title":{"rendered":"These boots are made for walking"},"content":{"rendered":"<section class='wp-block-ho-pattern ' data-pattern='ho\/header-magazin-landscape'>\n\n<div  class='div'>\n\n<div  class='container-fluid sizes-width-fill'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 margin-bottom-4 text-align-center'  data-motion-text=\"{&quot;child&quot;:&quot;.ho-sd-mag-h2&quot;,&quot;force&quot;:true,&quot;delay&quot;:0,&quot;speed&quot;:0.9,&quot;ease&quot;:&quot;expo.out&quot;}\">\n<h1 class='ho-sd-mag-h2' style=\"white-space: normal;\">These boots are made for walking<\/h1>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='container-fluid mobile-margin-bottom-3 sizes-width-fill'>\n\n<div  class='row'>\n\n<div  class='col col-md-4 col-md-offset-4 col-xs-offset-2 col-xs-8'>\n\n<div  class='margin-bottom-7'  data-motion-text=\"{&quot;child&quot;:&quot;.lazy-media-inline&quot;,&quot;force&quot;:true,&quot;delay&quot;:0.3,&quot;speed&quot;:0.9,&quot;ease&quot;:&quot;expo.out&quot;}\">\n<div class=\"wp-block wp-block-ho-flash \" style=\"\">\n\n\t\t\t\t\t\t\t\t<div class=\"flash-animation-data\" data-animations='[{\"id\":\"full\",\"name\":\"Full\",\"types\":[{\"name\":\"y\",\"start\":\"-5\",\"end\":\"5\"}]},{\"id\":\"in\",\"name\":\"In\",\"types\":[]},{\"id\":\"out\",\"name\":\"Out\",\"types\":[]}]' data-target=\".lazy-media-contents\" 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background-position: 52% 63%; height: 100%; width: 100%;\"><\/div>\n\n\t\t<lazy-media-inline inline-template>\n\t\t<div>\n\t\t\t<lazy-media :inline=\"true\" :alt=\"alt\" :sizes=\"sizes\" :scale=\"scale\" :zoom=\"zoom\" :brightness=\"brightness\" :path=\"path\" :video=\"video\" :autoplay=\"autoplay\" :youtube=\"youtube\" :crop=\"crop\" :youtubelabel=\"youtubelabel\" :annotations=\"annotations\" :background=\"background\" v-if=\"sizes\"><\/lazy-media>\n\t\t<\/div>\n\t<\/lazy-media-inline>\n\t\t\t<\/div>\n<\/div>\n\n\n\n\n\n\t\t<figcaption class=\"\" id=\"media_Q7Q1bn\">\n\t\t\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-label\">Detail: Carol Rama: A Rebel of Modernity, exhibition view<\/div>\n\t\t\t\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Schirn Kunsthalle Frankfurt 2024, Photo: Norbert Miguletz <\/div>\n\t\t\t\t\t\t<\/div>\n\t\t<\/figcaption>\n\t\n<\/figure>\n\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/flash-animation>\n\t\t\t\t<\/div>\n\t\t\t\t\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div  class='container-fluid margin-bottom-7'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12 col-md-4 col-md-offset-8 margin-bottom-5'><section class='wp-block-ho-pattern ' data-pattern='ho\/magazin-header-eigenschaften'>\n\n<div  class='magazine-header-props text-align-right'>\n\n<div  class='container-fluid cf-rem-max-width cf-side-1 cf-gutter-1'>\n\n<div  class='row'>\n\n<div  class='col col-xs-12'><div class=\"wp-block-ho-slot \"><p>12\/30\/2024<\/p><\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12'>\n\n<div  class='margin-bottom-3'>\n\n<div  class='flex-align-center-right'>\n<div class=\"wp-block-ho-slot \"><p>13 min reading time<\/p><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n<div class=\"wp-block-ho-slot \"><div class=\"container-fluid cf-rem-max-width cf-side-1 cf-gutter-1\"><div class=\"row\"><div class=\"col col-xs-12\"><div class=\"margin-bottom-3\"><div class=\"components-image-text-person-image-small-group flex-align-top-right\"><div class=\"col col-xs-12\"><div class=\"components-image-text-persons-line\"><span class=\"ho-sd-body\">Writer:<\/span><a href=\"https:\/\/www.schirn.de\/en\/beteiligte\/samanea-karrfalt-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Sama\u00adnea Karr\u00adfalt<\/div><\/a><\/div><\/div><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"margin-bottom-3\"><div class=\"flex-align-top-right\"><a href=\"https:\/\/www.schirn.de\/en\/kuenstler\/carol-rama-en\/\" class=\"components-image-text-person-image-small\"><div class=\"components-image-text-person-image-small-text ho-sd-body\">Carol Rama<\/div><div class=\"components-image-text-person-image-small-image\"><figure 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background-position: 50% 50%; height: 100%; width: 100%;\"><\/div><div class=\"lazy-media loaded\"><img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/09\/Schirn_Presse_Carol_Rama_Presso_il_pungente_promontorio_orientale_1967-1281x1920.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/09\/Schirn_Presse_Carol_Rama_Presso_il_pungente_promontorio_orientale_1967-1281x1920.jpg 1281w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/09\/Schirn_Presse_Carol_Rama_Presso_il_pungente_promontorio_orientale_1967-200x300.jpg 200w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/09\/Schirn_Presse_Carol_Rama_Presso_il_pungente_promontorio_orientale_1967-683x1024.jpg 683w, https:\/\/www.schirn.de\/wp-content\/uploads\/2024\/09\/Schirn_Presse_Carol_Rama_Presso_il_pungente_promontorio_orientale_1967-768x1151.jpg 768w, 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alt=\"Carol Rama, Presso il pungente promontorio orientale (Nahe der schroffen \u00f6stlichen Landspitze), 1967\" loading=\"lazy\" \/><\/div><\/div><\/div><\/figure><\/div><\/a><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-tertiary\"><a href=\"https:\/\/www.schirn.de\/en\/hauptkategorie\/context-en\/\" class=\"ho-tag-label\">Context<\/a><\/div><\/div><\/div><\/div><div class=\"col col-xs-12\"><div class=\"wp-block-ho-div\"><div class=\"ho-tag-group flex-align-top-right\"><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/exhibition\/\" class=\"ho-tag-label\">Exhibition<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/society\/\" class=\"ho-tag-label\">Society<\/a><\/div><div class=\"ho-tag is-primary\"><a href=\"https:\/\/www.schirn.de\/en\/tag\/art-history\/\" class=\"ho-tag-label\">Art History<\/a><\/div><\/div><\/div><\/div><\/div><\/div>\n<\/div>\n<\/div>\n<\/section><\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-xs-12 last-xs col-md-8'>\t<p class='ho-sd-h4'>Shoes are silent storytellers, revealing secrets about their wearer&#8217;s personality, status and desires. No wonder, then, that artists like Carol Rama include shoes as a recurring motif in their work. From Jan van Eyck to Carol Rama and Jo Cope, here are some of the most fascinating shoes in art history.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern toggle-optional-headline toggle-optional-button' data-pattern='ho\/text-option-headline-button'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row ho-pattern-optional-headline'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-h3' style=\"white-space: normal;\">Lorem ipsum<\/h2>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-xs-12'>\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Garments and acces\u00adsories have been motifs in artworks throughout history. There is one item that has never fallen out of fashion and stands arguably above the rest: the shoe. Equal parts func\u00adtional protec\u00adtion and sculp\u00adtural form, shoes commu\u00adni\u00adcate the values and person\u00adality of the wearer. Do they prefer comfort or aesthetics? Busi\u00adness or plea\u00adsure? Shoes are polit\u00adical. They reveal socioe\u00adco\u00adnomic status at a glance. To be shoe\u00adless reveals a lot of infor\u00adma\u00adtion about an indi\u00advidual\u2019s circum\u00adstances. They have also perme\u00adated common language: \u201cto walk in someone else\u2019s shoes\u201d, \u201cwaiting for the other shoe to drop\u201d, or being \u201ca boot licker\u201d. Shoes can also be seduc\u00adtive and stim\u00adu\u00adlate wild fantasies. They are with us every day and carry us through life. Begin\u00adning in antiq\u00aduity, we will follow the path of shoes in artworks.<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-12 ho-pattern-optional-button padding-top-4'>\n\n<div  class='wp-block-ho-buttons '>\n<div class=\"wp-block-ho-buttons-item\">\n\t<a href=\"https:\/\/www.google.de\/\"  target=\"\" role=\"button\" aria-pressed=\"false\" rel=\"nofollow\" class=\"ho-button is-primary mobile-full-width\">\n\t\t\t\t<span class=\"ho-button-label \">Lorem Ipsum<\/span>\n\t<\/a>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>1<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Dionysius from Berytos<br \/>\n\u201cGroup of Aphrodite, Pan and Eros\u201d, 100 BC<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>The artists and philoso\u00adphers of Hellenistic Greece were perhaps the first to feature shoes in their work. Sculp\u00adtors immor\u00adtal\u00adized the divine activ\u00adi\u00adties of the pantheon in marble, and one recur\u00adring theme was the encounter of Aphrodite, Pan, and Eros. This partic\u00adular sculp\u00adture was unearthed in 1904 on the Greek island of Delos. The Goddess of love Aphrodite is accosted by Pan, the cloven-hoof God of nature and fertility. Aphrodite\u2019s son Eros, the winged god of romantic love, tugs on Pan\u2019s horn to assist his mother. Pan tries to over\u00adpower her, but she has the ulti\u00admate weapon \u2013 a leather sandal \u2013 which allows her success\u00adfully to thwart his attack. Helen of Troy may have launched a thou\u00adsand ships, but Aphrodite launched a thou\u00adsand shoes.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/live.staticflickr.com\/65535\/53812972015_8543a0dbe2_b.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Dionysius from Berytos, \u201cGroup of Aphrodite, Pan and Eros\u201d, 100 BC<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/www.flickr.com\/photos\/mustangjoe\/53812972015\">flickr.com<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>2<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Jan van Eyck<br \/>\n\u201cThe Arnolfini Portrait\u201d, 1434<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>The enig\u00admatic \u201cArnolfini Portrait\u201d by Jan van Eyck is a master\u00adpiece of the Northern Renais\u00adsance. It depicts the Italian merchant Giovanni di Nicolao Arnolfini and a woman \u2013 presum\u00adably his wife \u00ad\u2013 standing hand in hand in a bedroom. The inter\u00adpre\u00adta\u00adtion of the complete compo\u00adsi\u00adtion is still hotly debated to this day. From the single candle in the chan\u00adde\u00adlier to the fluffy dog, each element is highly symbolic. The two pairs of shoes are of partic\u00adular interest: Arnolfini&#8217;s pattens in the fore\u00adground \u2013 wooden over\u00adshoes worn when walking on muddy streets \u2013 and his wife&#8217;s ornate, red slip\u00adpers in the back\u00adground. Art histo\u00adrian Erwin Panofsky theo\u00adrized that the shoes repre\u00adsent the couple\u2019s fidelity. In combi\u00adna\u00adtion with the unusu\u00adally inti\u00admate setting, he posited that the couple respects the sanc\u00adtity of the marital bed as they prepare to consum\u00admate their union.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/5\/53\/The_Arnolfini_portrait_%281434%29.jpg\/450px-The_Arnolfini_portrait_%281434%29.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Jan van Eyck, \u201cThe Arnolfini Portrait\u201d, 1434<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/de.wikipedia.org\/wiki\/Arnolfini-Hochzeit#\/media\/Datei:The_Arnolfini_portrait_(1434).jpg\">wikipedia.org<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>3<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Jean-Honor\u00e9 Fragonard<br \/>\n\u201cLes Hasards heureux de l&#8217;escarpolette\u201d, 1767\/1768<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Jean-Honor\u00e9 Frag\u00ado\u00adnard\u2019s \u201cThe Happy Acci\u00addents of the Swing\u201d captures the quin\u00adtes\u00adsence of the Rococo era. It is friv\u00ado\u00adlous with unashamed impro\u00adpriety on full display. The work is also tech\u00adni\u00adcally impres\u00adsive in its level of detail and use of light and shadow. It was commis\u00adsioned by a French nobleman who wanted to be painted looking up his young lover\u2019s skirt while she is being pushed on a swing. The artist who was orig\u00adi\u00adnally commis\u00adsioned did not want to paint such a scan\u00addalous scene, so he passed it on to Frag\u00ado\u00adnard, who would become known for painting erotic subjects. The flight of the minus\u00adcule shoe sailing through the air leaves the lady\u2019s dainty, arched foot in a state of undress. In the language of Rococo imagery, a lost shoe symbol\u00adizes losing one virginity. The swing is not only a symbol of wealth, but also a metaphor for the freedom and release one enjoys by adopting a liber\u00adtine approach to sexu\u00adality. It is no acci\u00addent that the opening of the shoe is facing down\u00adward. According to Enlight\u00aden\u00adment-Era scholar Michel Delon, it func\u00adtions as a cheeky sugges\u00adtion of the view that the depicted commis\u00adsioner is clearly enjoying.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/8\/83\/The_Swing_%28P430%29.jpg\/800px-The_Swing_%28P430%29.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Jean-Honor\u00e9 Fragonard, \u201cLes Hasards heureux de l&#8217;escarpolette\u201d, 1767\/1768<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:The_Swing_(P430).jpg\">commons.wikimedia.org<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>4<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Vincent van Gogh<br \/>\n\u201cThree Pairs of Shoes\u201d, 1886-1887<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>In addi\u00adtion to posed studies of laborers, Vincent van Gogh painted a series featuring their shoes. Though the owner&#8217;s visages are absent in \u201cThree Pairs of Shoes\u201d, the distinct char\u00adacter of the shoes gives the painting a kind of portrait quality. The visible brush\u00adstrokes empha\u00adsize the condi\u00adtion of the leather, formed and soft\u00adened through sweat and the elements. The wear pattern and the exposed nail heads on the sole of the upturned shoe reveal that the owner bears more weight on the outside of their foot. Van Gogh actu\u00adally painted the shoes over another painting of a vase of flowers. In the final compo\u00adsi\u00adtion, he gives a nod to clas\u00adsical still lives by using a cloth back\u00addrop while giving it a modernist twist by pushing the bound\u00adaries of image-worthy subjects.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/ids.hvrd.art\/ids\/view\/45443484?width=3000&#038;height=3000\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Vincent van Gogh, \u201cThree Pairs of Shoes\u201d, 1886-1887<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/harvardartmuseums.org\/collections\/object\/228744?rendition\">havardartmuseum.org<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>5<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Salvador Dal\u00ed<br \/>\n\u201cObjet Surr\u00e9aliste \u00e0 fonctionnement symbolique \u2013le soulier de Gala\u201d (Surrealist object that functions symbolically \u2013Gala\u2019s Shoe), 1932\/1975<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Salvador Dal\u00ed created many artworks dedi\u00adcated to his wife and muse Gala Dal\u00ed, including this object featuring one of her shoes. Orig\u00adi\u00adnally titled \u201cShoe and a Glass of Milk\u201d, it is regarded as his first surre\u00adalist object. Fully embracing Sigmund Freud\u2019s then-new theory of fetishism, Dal\u00ed described its symbolic func\u00adtion in 1931: \u201cA woman\u2019s shoe, inside of which a glass of warm milk has been placed, in the centre of a soft paste in the colour of excre\u00adment. The mech\u00ada\u00adnism consists of the dipping in the milk of a sugar lump, on which there is a drawing of a shoe, so that the dissolving of the sugar, and conse\u00adquently of the image of the shoe, may be observed. Several acces\u00adsories (pubic hairs glued to a sugar lump, an erotic little photo\u00adgraph) complete the object, which is accom\u00adpa\u00adnied by a box of spare sugar lumps and a special spoon used for stir\u00adring lead pellets inside the shoe.\u201d<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zwei-bilder-mittel-mittel'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-md-5 col-xs-11 mobile-margin-bottom-5'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/sfmoma-media-dev.s3.us-west-1.amazonaws.com\/www-media\/2022\/05\/02102930\/2007.143.A-B_01_artsy_b02-Artsy-JPEG_4000-pixels-long-1.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Salvador Dal\u00ed, \u201cObjet Surr\u00e9aliste \u00e0 fonctionnement symbolique\u2014le soulier de Gala\u201d (Surrealist object that functions symbolically\u2014Gala\u2019s Shoe), 1932<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/www.sfmoma.org\/artwork\/2007.143.a-b\/\">sfmoma.org<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-11 col-xs-offset-1 col-md-5 col-md-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_mJVyHD\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/www.artic.edu\/iiif\/2\/abd5aa64-7279-90e1-6669-eddef4ee4ab6\/full\/843,\/0\/default.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_mJVyHD\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Salvador Dal\u00ed, \u201cObjet Surr\u00e9aliste \u00e0 fonctionnement symbolique\u2014le soulier de Gala\u201d (Surrealist object that functions symbolically\u2014Gala\u2019s Shoe), 1932<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Die%20Schwertlilien%2C%20auch%20Iris%20genannt%2C%20bilden%20eine%20Pflanzengattung%20in%20der%20Unterfamilie%20Iridoideae%20in%20der%20Familie%20der%20Schwertliliengew%C3%A4chse%20%28Iridaceae%29%20innerhalb%20der%20Einkeimbl%C3%A4ttrigen%20Pflanzen.<\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>6<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Carol Rama<br \/>\n\u201cSenza titolo\u201d, 1972<br \/>\nSalvatore Ferragamo<br \/>\n\u201cInvisibile\u201d, 1947<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Artist Carol Rama was a self-proclaimed shoe fan stating: \u201cThe foot is a kind of eros, a fetish, it always offers a possi\u00adbility of rapport, of love. The foot and the shoe have a signif\u00adi\u00adcance of beauty\u201d (1984). She was inspired by shoe designer Salva\u00adtore Ferragamo\u2019s work and illus\u00adtrated one of his designs several times on Pantone posters. By intensely studying anatomy and how the plantar arch bears the weight of the body, Ferragamo centered women\u2019s bodies in his design prac\u00adtice. Wartime rationing led to some of his greatest inno\u00adva\u00adtions, such as using then-uncon\u00adven\u00adtional mate\u00adrials like canvas and cork. His 1947 \u201cInvis\u00adi\u00adbile\u201d sandal, featuring his signa\u00adture \u201cF\u201d heel, was inspired by fish\u00aderman in that he wove a single length of nylon thread through the sole of the shoe. The effect is both a naked and bound foot presented on a golden pedestal, which gives the shoe a certain fetishistic quality. In Carol Rama`s \u201cSenza titolo\u201d from 1972, the artist gave it her own playful twist on the \u201cInvis\u00adi\u00adbile\u201d sandal by replacing the straps with penises &#8211; an ironic depic\u00adtion of shoes, which also appears in her early work.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zwei-bilder-mittel-mittel'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-1'>\n\n<div  class='row'>\n\n<div  class='col col-md-5 col-xs-11 mobile-margin-bottom-5'>\n\n<div class=\"wp-block-ho-div\"><figure itemscope itemtype=\"http:\/\/schema.org\/ImageObject\" class=\"lazy-media-inline \" role=\"group\" aria-describedby=\"media_3gzU3J\">\n<script type=\"application\/json\">{\n\"id\" : 24760,\n\"sizes\" : {\"medium\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-300x300.jpg\",\"width\":300,\"height\":300,\"mime-type\":\"image\\\/jpeg\",\"filesize\":6712},\"large\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1024x1024.jpg\",\"width\":1024,\"height\":1024,\"mime-type\":\"image\\\/jpeg\",\"filesize\":52595},\"medium_large\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-768x768.jpg\",\"width\":768,\"height\":768,\"mime-type\":\"image\\\/jpeg\",\"filesize\":30473},\"1536x1536\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1536x1536.jpg\",\"width\":1536,\"height\":1536,\"mime-type\":\"image\\\/jpeg\",\"filesize\":120431},\"2048x2048\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-2048x2048.jpg\",\"width\":2048,\"height\":2048,\"mime-type\":\"image\\\/jpeg\",\"filesize\":210819},\"small\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-440x440.jpg\",\"width\":440,\"height\":440,\"mime-type\":\"image\\\/jpeg\",\"filesize\":11745},\"semi\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-580x580.jpg\",\"width\":580,\"height\":580,\"mime-type\":\"image\\\/jpeg\",\"filesize\":18557},\"mobile\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-720x720.jpg\",\"width\":720,\"height\":720,\"mime-type\":\"image\\\/jpeg\",\"filesize\":27318},\"hd\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1280x1280.jpg\",\"width\":1280,\"height\":1280,\"mime-type\":\"image\\\/jpeg\",\"filesize\":83014},\"full\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1920x1920.jpg\",\"width\":1920,\"height\":1920,\"mime-type\":\"image\\\/jpeg\",\"filesize\":187127},\"original\":{\"file\":\"2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227.jpg\",\"width\":2673,\"height\":2673}},\n\"alt\" : \"\",\n\"path\" : \"\\\/wp-content\\\/uploads\\\/2025\\\/01\\\/\",\n\"video\" : null,\n\"autoplay\" : null,\n\"youtube\" : null,\n\"youtubelabel\" : \"play\",\n\"brightness\" : 100,\n\"crop\" : null,\n\"background\" : false,\n\"scale\" : 1,\n\"zoom\" : false,\n\"annotations\" : null}<\/script>\n<div class=\"height-container \" style=\"padding-bottom:100%;   \">\n\t<div class=\"height-container-contents lazy-media-contents\">\n\t\n\t<div class=\"lazy-media-preview\" style=\"background-image: url('data:image\/jpeg;base64,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'); background-position: 50% 50%; height: 100%; width: 100%;\"><\/div>\n\n\t\n<div class=\"lazy-media loaded\">\n\t<img decoding=\"async\" src=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1920x1920.jpg\" srcset=\"https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1920x1920.jpg 1920w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-300x300.jpg 300w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1024x1024.jpg 1024w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-150x150.jpg 150w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-768x768.jpg 768w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1536x1536.jpg 1536w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-2048x2048.jpg 2048w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-440x440.jpg 440w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-580x580.jpg 580w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-720x720.jpg 720w, https:\/\/www.schirn.de\/wp-content\/uploads\/2025\/01\/2_VORSCHAU_SCHIRN-CAROL-RAMA_DSF9227-1280x1280.jpg 1280w\" sizes=\"(max-width: 763px) 100vw, (qmin-width: 764px) and (max-width: 1023px) 100vw, (min-width: 1024px) 100vw\" alt=\"\" loading=\"lazy\" \/>\n<\/div>\t\t<\/div>\n<\/div>\n\n\n\n\n\n\n<\/figure>\n\n\t\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Detail: Carol Rama: A Rebel of Modernity, installation view: Carol Rama, Senza titolo, 1972<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">\u00a9 Schirn Kunsthalle Frankfurt 2024, Photo: Norbert Miguletz<\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-xs-11 col-xs-offset-1 col-md-5 col-md-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_mJVyHD\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/cdn.ferragamo.com\/wcsstore\/FerragamoCatalogAssetStore\/images\/products\/772434\/772434_00_r20.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_mJVyHD\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Salvatore Ferragamo,\u00a0\u201cInvisibile\u201d, 1947<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/www.ferragamo.com\/shop\/us\/en\/women\/shoes\/creations-icons\/invisibile-772434\">ferragamo.com<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>7<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Andy Warhol<br \/>\n\u201cDiamond Dust Shoes (Random)\u201d, 1980<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Andy Warhol began his artistic career as an illus\u00adtrator who special\u00adized in drawing ladies\u2019 shoes. In 1955, he was commis\u00adsioned by the failing shoe company I. Miller to create their adver\u00adtise\u00adments. His eye-catching illus\u00adtra\u00adtions success\u00adfully reestab\u00adlished and rebranded the company as the fore\u00adfront of fashion. He would use shoes as subjects throughout his career in collages, photog\u00adraphy, and of course screen printing. In 1980, he made the \u201cDiamond Dust Shoes\u201d series, which featured mono\u00adchro\u00admatic and multi\u00adcol\u00adored pumps arranged in various constel\u00adla\u00adtions. His tech\u00adnique of applying pulver\u00adized glass and stones to the canvas gives each piece a dazzling, glam\u00adourous effect. He exper\u00adi\u00admented with using actual pulver\u00adized diamonds, but the finish proved to be too dull. Never\u00adthe\u00adless, the name remained.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/www.museum-brandhorst.de\/imgs\/2008-1788-uab566-warhol-diamond-dust-shoes-1980-1280x1648.jpg?x44960\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Andy Warhol, \u201cDiamond Dust Shoes\u201d, 1980<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/www.museum-brandhorst.de\/en\/collection\/diamond-dust-shoes\/#\">museum-brandhorst.de<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>8<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Mona Hatoum<br \/>\n\u201cRoadworks\u201d (Performance Still), 1985<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>In her thirty-minute-long perfor\u00admance \u201cRoad\u00adworks\u201d, multi\u00admedia artist Mona Hatoum walked bare\u00adfoot on the side\u00adwalks of Brixton in London in 1985 with black Doc Marten boots shackled to her ankles. Pre-gentri\u00adfi\u00adca\u00adtion Brixton was a diverse, working-class neigh\u00adbor\u00adhood. At this time, the police targeted Black and Caribbean resi\u00addents by dispro\u00adpor\u00adtion\u00adately subjecting them to impromptu searches. The situ\u00ada\u00adtion reached a boiling point in 1981 during the Brixton Riots, in which hundreds of people were injured, and much prop\u00aderty was destroyed. Hatoum\u2019s perfor\u00admance was in direct response to these events. Her bare feet allude to the vulner\u00ada\u00adbility and lack of protec\u00adtion for the victims of police brutality and insti\u00adtu\u00adtion\u00adal\u00adized racism. The Doc Martens stand in for the police force \u2013 just one step behind, following every move.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/www.tate-images.com\/media\/p80087-Performance-Still.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Mona Hatoum, \u201cRoadworks\u201d (Performance Still), 1985<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/www.tate.org.uk\/art\/artworks\/hatoum-performance-still-p80087\">tate.org.uk<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>9<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Marina Abramovi\u0107<br \/>\n\u201cShoes for Departure\u201d, 1991<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>In the late 1980s and early 1990s, Marina Abramovi\u0107 began to work on a series of objects centered around semi\u00adprecious stones and their meta\u00adphys\u00adical prop\u00ader\u00adties. She invited the public to interact with these \u201ctran\u00adsi\u00adtory objects\u201d and actively engage in her method\u00adology for the first time. Her \u201cShoes For Depar\u00adture\u201d are carved from solid pieces of Brazilian amethyst. The immov\u00adable, 70-kilo\u00adgram shoes act as a tele\u00adpor\u00adta\u00adtion device. The audi\u00adence was instructed to: \u201cEnter the shoes with bare feet. Eyes closed. Motion\u00adless. Depart.\u201d In addi\u00adtion to the shoes, she also created a chair and mirror which are oper\u00adated with similar prin\u00adci\u00adples.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/s3-eu-west-1.amazonaws.com\/production-static-stedelijk\/images\/adlib\/2015\/1991.4.034812-1733889636966.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Marina Abramovi\u0107, \u201cShoes for Departure\u201d, 1991<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/www.stedelijk.nl\/en\/collection\/4264-marina-abramovic-shoes-for-departure\">stedelijk.nl<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>10<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Can Togay and Gyula Pauer<br \/>\n\u201cShoes on the Danube Bank\u201d, 2005<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Sixty pairs of old-fash\u00adioned bronze shoes line the bank of the Danube in Budapest across from the parlia\u00adment building. Conceived by film\u00admaker Can Togay and created by sculptor Gyula Pauer, \u201cShoe on the Danube Bank\u201d is a monu\u00adment to the thou\u00adsands of victims of the far-right, ultra\u00adna\u00adtion\u00adalist Arrow Cross Party, who were in power at the end of World War II from 1944-1945. The militia targeted Jewish and Romani people as well as other ethnic minori\u00adties and all who opposed their power. Before being executed, the victims were instructed to remove their shoes, which were a coveted wartime commodity and valued more greatly than their lives. The victims were executed by firing squad, and their bodies were pushed into the river. The empty shoes are a sobering reminder of the brutality and disre\u00adgard for human life in the Holo\u00adcaust.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/1\/11\/Shoes_Danube_Promenade_IMGP1297.jpg\/800px-Shoes_Danube_Promenade_IMGP1297.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Can Togay and Gyula Pauer, \u201cShoes on the Danube Bank\u201d, 2005<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/commons.wikimedia.org\/wiki\/File:Shoes_Danube_Promenade_IMGP1297.jpg\">commons.wikimedia.org<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>11<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Ndidi Dike<br \/>\n\u201cHow Much Am I Worth?\u201d, 2015<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Ndidi Dike is one of the most influ\u00aden\u00adtial female instal\u00adla\u00adtion artists of Nigeria. Throughout her over 40-year-long career as an artist and cultural activist, she has used her art to address the most pressing polit\u00adical issues facing Nigerian society. Her haunting instal\u00adla\u00adtion \u201cHow Much Am I Worth?\u201d is dedi\u00adcated to the 276 girls who were abducted from the Chibok Secondary School by the terrorist group Boko Haram in 2014. A metal bunk bed made with a lattice of bullet casings is surrounded by a halo of flip-flops, which bear silent witness to the unspeak\u00adable things that tran\u00adspire upon the beds. Dike uses the discarded flip-flops to bring atten\u00adtion to child marriage and how women and chil\u00addren are gener\u00adally disre\u00adgarded in the patri\u00adar\u00adchal society of Nigeria. In this piece, the viewer is confronted with the discom\u00adforting coun\u00adter\u00adpart of collec\u00adtive memory: collec\u00adtive amnesia. As of 2024, Amnesty Inter\u00adna\u00adtional reports that 82 girls from the Chibok attack are still missing and approx\u00adi\u00admately 1,400 more chil\u00addren have been kidnapped in subse\u00adquent terrorist attacks.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/blogger.googleusercontent.com\/img\/b\/R29vZ2xl\/AVvXsEiA_fZut_86FhtRBJx0WTnZq-jzNVTikPZskkZ2drf_8kXwOIUzj6ptXPDJ5F2I5tq42C8wTLV5jA_t0d5IFuGPcro2g52eyomr4wwspKUDLFQNPxwgVwTmQYTyU0xmBoWPNINolseLPbM\/s1600\/7+DPP_0005.JPG\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Ndidi Dike, \u201cHow Much Am I Worth?\u201d, 2015<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Image via\u00a0<a href=\"https:\/\/ndididike.blogspot.com\/2016\/02\/blog-post.html\">ndididike.blogspot.com<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern show-optional-headline' data-pattern='ho\/text-magazin-listicle'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-xs-3 text-align-right'>\n\n<div  class='mag-listicle-number'>\t<p class='ho-sd-mag-h4'>12<\/p>\n<\/div>\n<\/div>\n\n\n\n\n<div  class='col col-md-6 col-xs-12 padding-top-4'>\n\n<div  class='padding-bottom-4'>\n<h2 class='ho-sd-mag-h3' style=\"white-space: normal;\">Jo Cope<br \/>\n\u201dWalking on Water\u201d (Performance Still), 2021<\/h2>\n<\/div>\n\n\n\n\n<div class=\"wp-block-ho-div\">\t<p class='ho-sd-body'>Concep\u00adtual artist and fashion designer Jo Cope focuses her artistic prac\u00adtice on the history of shoes and their symbolic capa\u00adbil\u00adi\u00adties. For her, shoes are a means of commu\u00adni\u00adca\u00adtion and instru\u00adments with which to study the human condi\u00adtion. In 2021, she was invited to create a site-specific perfor\u00admance for the 2021 Venice Design Bien\u00adnale. Venice has been synony\u00admous with nobility and luxury for centuries; however, these excesses were only made possible by the workers who have popu\u00adlated the city since the first wooden piles were driven into the lagoon. Wanting to high\u00adlight these unsung Venetian protag\u00ado\u00adnists, Cope devel\u00adoped the perfor\u00admance \u201cWalking on Water\u201d about the creation of the Friu\u00adlane \u2013 soft-soled, velvet slip\u00adpers that were tradi\u00adtion\u00adally produced by craftswomen. She collab\u00ado\u00adrated with shoe\u00admakers at the Pied\u00e0terre company, the oldest Friu\u00adlane manu\u00adfac\u00adturer in the city. The perfor\u00admance traces the history of the slipper and how it became a symbol of Venice through the labor of working-class women.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n\n<section class='wp-block-ho-pattern ' data-pattern='ho\/medien-bild-zentriert'>\n\n<div  class='margin-bottom-7'>\n\n<div  class='container-fluid cf-gutter-5 cf-side-5'>\n\n<div  class='row'>\n\n<div  class='col col-md-6 col-md-offset-3 col-xs-10 col-xs-offset-1'>\n\n<div class=\"wp-block-ho-div\">\t<figure itemscope=\"itemscope\" itemtype=\"http:\/\/schema.org\/ImageObject\" role=\"group\" aria-describedby=\"media_3gzU3J\">\n\t\t<img\n\t\t\tsrc=\"https:\/\/venicedesignbiennial.org\/media\/pages\/the-platform\/walking-on-water-a-story-of-female-independence-across-shoe-design-and-centuries\/c4995913c6-1634921355\/performancee-sito-biennial-cut-2.jpg\"\n\t\t\tloading=\"lazy\"\n\t\t\tclass=\"external-image-class\"\n\t\t\/>\n\t<\/figure>\n\t\n\n<figcaption id=\"media_3gzU3J\">\n\t<div class=\"figcaption-wrapper\">\n\t\t\t\t\t<div class=\"lazy-media-image-label\">Jo Cope, \u201dWalking on Water\u201d (Performance Still), 2021<\/div>\n\t\t\t\t\t\t\t<div class=\"lazy-media-image-description\">Photo: Veronika Motulko; Image via\u00a0<a href=\"https:\/\/venicedesignbiennial.org\/the-platform\/walking-on-water-a-story-of-female-independence-across-shoe-design-and-centuries\">venicedesignbiennial.org<\/a><\/div>\n\t\t\t<\/div>\n<\/figcaption>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Shoes are silent storytellers, revealing secrets about their wearer&#8217;s personality, status and desires. No wonder, then, that artists like Carol Rama include shoes as a recurring motif in their work. From Jan van Eyck to Carol Rama and Jo Cope, here are some of the most fascinating shoes in art history.<\/p>\n","protected":false},"featured_media":28961,"template":"","meta":{"_acf_changed":false,"ho_image_focal_point":"","footnotes":""},"ho_exhibition_taxonomy":[3762],"artist":[883],"magazin_tag":[1376,1369,1375],"magazin_type":[884],"involved":[3130],"class_list":["post-24775","magazin-artikel","type-magazin-artikel","status-publish","has-post-thumbnail","hentry","ho_exhibition_taxonomy-carol-rama-en","artist-carol-rama-en","magazin_tag-art-history","magazin_tag-exhibition","magazin_tag-society","magazin_type-context-en","involved-samanea-karrfalt-en"],"acf":{"seo_titel":"These Boots Are Made for Walking at SCHIRN","seo_description":"These boots are made for walking - an article in SCHIRN Magazine by Kunsthalle Frankfurt.","keywords":"","noindex":false,"redirect":"","relevancy":false,"post_type_label":false,"autoplay":""},"_links":{"self":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/24775","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel"}],"about":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/types\/magazin-artikel"}],"version-history":[{"count":3,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/24775\/revisions"}],"predecessor-version":[{"id":34975,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin-artikel\/24775\/revisions\/34975"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/media\/28961"}],"wp:attachment":[{"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/media?parent=24775"}],"wp:term":[{"taxonomy":"ho_exhibition_taxonomy","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/ho_exhibition_taxonomy?post=24775"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/artist?post=24775"},{"taxonomy":"magazin_tag","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin_tag?post=24775"},{"taxonomy":"magazin_type","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/magazin_type?post=24775"},{"taxonomy":"involved","embeddable":true,"href":"https:\/\/www.schirn.de\/en\/wp-json\/wp\/v2\/involved?post=24775"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}