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Barbara Zucchi is an Italian designer, scriptwriter and a comic-strip artist. She has been recently invited to join the '2007 Cowparade', held in Milan, where she partecipated with 'a fashion cow' made of feathers material she find herself at ease to work with. Her cow named 'La mucca è mobile qual piuma al vento', title taken from the most notorious Giuseppe Verdi's Opera 'Rigoletto', was commissioned by Radio Montecarlo. As for what concerning shoes-designing she has drawned a collection for another Verdi's Opera 'Il Trovatore', revised in fantasy-comic-style key; this Opera is waiting to debut any time 2008.
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[email] => barbarazucchi@gmail.com
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[vision] => Barbara Zucchi
Barbara Zucchi is an Italian designer, scriptwriter and a comic-strip artist. She has been recently invited to join the '2007 Cowparade', held in Milan, where she partecipated with 'a fashion cow' made of feathers material she find herself at ease to work with. Her cow named 'La mucca è mobile qual piuma al vento', title taken from the most notorious Giuseppe Verdi's Opera 'Rigoletto', was commissioned by Radio Montecarlo. As for what concerning shoes-designing she has drawned a collection for another Verdi's Opera 'Il Trovatore', revised in fantasy-comic-style key; this Opera is waiting to debut any time 2008.
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[year] => 2006
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Guendoline (John Willie’s)
This sandal pays tribute to John Willie, a comics master, pioneer of the “bondage” way, whose work is the top and finest one could find in such field. His comic stripes were directly drawn on photo paper, collected by just a little group of estimators and mainly sold by mail. His stories were often unfinished. Occasionally happened that John Willie would refuse very remunerative works so that he wouldn’t have to come across censorship which might changed the nature of his stripes.
His character Guendoline has been a secret comic for years, but it has left very important traces in graphic’s evolution and styles one can find in the Seventies works of artists such as Allen Jones or in certain pictorial fantasies of Dino Buzzati.
Guendoline is victim of bad man’s persecution, she is a commonplace as de Sade’s Justine or the heroin in the “Histoire d’O”. Tied up, imprisoned, hang up, whipped: a character that belongs to fantasies of male domination. Guendoline is the object-woman tied up by laces and unreasonable corsets where the bad man, most of the time the artist himself playing the part of sir Dystic D’Arcy, will have the worst in every episode eventually. Her sandal is made of patent leather, a classic in sadomasochism, as her daddy wants to look her like. Or not?
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Salomè
In one act of O. Wilde’s tragedy, Salomè, the daughter of Herodiade, the Herod’s wife, agrees to dance for the king when he proposes her anything she could desire. When Salomè finishes dancing for the Judaea’s tetrarch, in a sinuous dialectical crescendo she obtains the preacher man’s head, Iokanaan, guilty of having offended her mother Herodiade but above all, guilty of not having kissed Salomè. Once obtained the head on a silver platter she can finally kiss the one who refused her. After this scene, Herod figured out the monstrosity to whom he has agreed due to the incestuous attraction for Salomè and order to kill the very object of his desire. This sandal is made of velvet and beads bands, the same I presume she was wearing during her furious dance, and by a blade for heel, as the blade of the sword that first cut the preacher man’s head off and secondly hers.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[year] => 2006
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Ophelia (Shakespeare’s Hamlet)
Aside from being one of the greatest poets and theatre’s writers, Shakespeare was also a pioneer of cinema, particularly for its primary root, the screenplay. His “Hamlet” is a clear example of that. We know that the little Ophelia will kill herself in the bed of a creak. As in every kind of performance, being it theatrical, pictorial or cinematographic, she is portrayed well dressed and perfectly make up as if she was going out on a date, not certainly to a rendezvous with Death. There are flowers on her hands and scattered across her clothes. The corpse is settled into water as if someone pitifully wanted to give her a post mortem dignity. The dialogue between the undertakers (the clowns, that in Shakespeare’s theatre bring Death) insinuates the doubt of the presence of a mysterious character, an “hidden2 assassin moving in the neighbourhood of the court or as a scene that has been intentionally cut off to rise up the suspense and the sense of apprehension, as in an Hitchcock or David Lynch’s film. The screenplayer’s job, before that of the director’s is that of catching audiences’ attention through the delicate duties of not giving clues, not explaining and principally not showing. So, the undertakers ask themselves on how weird is to bury a suicidal in consecrated earth and draw the brilliant conclusion “the lady drowned herself for self-defence”. Water is by far the purifier element, it’s the catharsis into which even the blackest assassin can clean his crimes off. In “Psycho”, Norman Bates hides his victim into water, so does the psycopath Jame Gumb in “The silence of the lambs” and in “Twin Peaks” the corpse of Laura Palmer floats in plastic to make her finding possible. The sandal of Ophelia is the one she could be dressing when the corpse free itself from the flesh and skin, and instead of worms and moulds I’d like to imagine flowers, leaves and threads of grass made of beads and slips of PET as natural “product” and consequently, a decoration exhaled by herself.
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[name] => Mona Lisa
[year] => 2006
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Mona Lisa
I have tried to imagine Mona Lisa’s feet and I think that, after all the interests shown for her throughout the centuries from millions of quotations, remakes, tons of written paper and who knows what else, she’s probably laughing up her sleeves: I’d imagine a bright open smile hidden under her dress aside from the shot that Leonardo da Vinci made her protagonist of the most renowned painting of the world. I join myself to the procession of whose that quoted her and that will still do it in the centuries to come and I make her shoe in the capacity of a comic; a fake smile painted PET and a question mark as heel representing the androgynous, feminine and masculine at the same time, as trend at that time of Leonardo, among embarrassing exchange of pictorial subjects and renamed self-portraits spiced up with alchemy.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[object_type] => sculpture
[name] => Mina Harker
[year] => 2006
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[colour] => FFFFFF
[material] => edible,fabric,wood
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Mina Harker
In Bram Stoker’s Dracula, Mina Harker is a quiet English teacher that should marry an employee. Her fiancé goes to Transylvania to meet up with the Earl Dracula for a real estate’s sale. The Earl sees a photograph of the young lady which resembles exactly his beloved dead bride, that killed herself centuries before believing her husband dead in battle. So the Earl decides to move to London to court Mina, she falls into his arms, in a reminiscence’s dance of a love which passed unhurt through the centuries, perhaps with fascinations and disillusions to the final blood catharsis in which she chooses to set her lover free from the curse of “non-dead”, transfixing his hearth and cutting off the head. I’ve therefore realized her sandal with some garlic cloves, famously unpopular for vampires and speakers. The heels are two crucifixes, symbol of the Christ, of Redemption, of Death and his consequent Resurrection aside of the struggle against vampires. In fact, it will be his last “bride” to put the word end on the dark legend of Dracula.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
[keywords] => Dracula,cinema,crucifixe
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[object_type] => sculpture
[name] => Marilyn Monroe
[year] => 2006
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[colour] => CCCCCC
[material] => plastic,synthetic
[usage] =>
[sex] =>
[style] => chic,glamorous
[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Marilyn Monroe
Marilyn has died. Suicidal.
She is gone to bed wearing some drops of Chanel n.5 and some tubes of barbiturics in her stomach. She maybe killed herself for self-defence as Ophelia or, perhaps, someone killed her and made up a dramatic scene of suffering and inability to resist to the star doom’s pressure. I just know that together with Monna Lisa she is an universal icon, a sort of holy picture, a cyclic representation that I have seen and I will see, as everybody, everywhere. So, she’s never died, and nobody killed her, or, if they did, by killing Marilyn they granted her eternal life. It’s sure that one associates the word “Marilyn” to these random images: Happy Birthday Mr. President, JFK, Andy Warhol, the white pleated skirt that lift up on the grill, suicide, barbiturics and who knows what else. Her heel is the emblem of an unsolved American case: a tube of “Goodnight America”.
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[name] => Marie Antoinette
[year] => 2006
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Marie Antoinette
I think that one should pay attention to the words used because what it is trash to someone, it could be everything another one owns. They say that one day, Marie Antoinette acknowledged with the fact that her subjects were so poorly fed that they didn’t even had bread, she has answered: ”Let them eating croissants!” I wonder if this sentence of hers, deserving of the highest praise for the pledge profuse into the resolution of the French res publica, came to her mind the day she was then beheaded. Her sandal is made of many guillotines, one for each toe and one for the ankle. I don’t want to hide my sympathy for Lady Oscar, when years back I was watching tv, totally taken by her cartoons series.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[object_type] => sculpture
[name] => Margot Mine (Lupin III)
[year] => 2006
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[shoe_type] => sandal
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[colour] => CCCCCC
[material] => beads,jewellery,metal
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[sex] =>
[style] => kinky
[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Margot Mine (Lupin III)
Within the cartoons that accompanied my childhood there is Lupin III. The adventures of the thief gentleman inspired me for the sandal of Margot. Madly in love with her, Lupin tolerates her colossal betrayals, her escapes with the billionaire of the moment, the thefts she commits to her own gang, moreover planned to take revenge on Arsenic. However, all these ungrateful plans at the back of the poor loving end up in farce; Margot can’t make it on her own against the prince of thieves, sided by Daisuke Jigen and Goemon Ishikawa.
In a series of absolutely genial and impossible situations, the poor commissar Kouichi Zenigata is always beaten and mortified, but regardless the cartoon transmits a positive message for there is a rooted good feeling able to reconcile the band at the end of every episode, as in every quarrelsome but united family.
This sandal has handcuffs as sash, but I left one open for she always succeed to set herself free, with the help, obviously, of her friends. The heels are precious stone-studded and the vamp is a string of pearls for they are her passions, strong enough to make her betray anyone who gets between her and jewels, and to make her deal with anyone who promise her richness and why not? A resounding lesson to her eternal beloved/hated Lupin III.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[status] => online
[object_type] => sculpture
[name] => Jeanne d’Arc
[year] => 2006
[brand] =>
[location] =>
[shoe_type] => sandal
[focus] => heel,instep
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[colour] => 333333
[material] => beads,feathers
[usage] =>
[sex] =>
[style] => experimental,historically influenced
[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Jeanne d’Arc
All I know about Jeanne d’Arc is that she was French, she heard voices and she fought for the king, the same king that to express gratitude condemned her to the stake; I also know of a movie about her story interpreted by Ingrid Bergman and another one by Milla Jojovich; I think she was called 'the Maid of Orleans'. In my collective imaginary, this is enough to dedicate her a pair of sandals with 'flaming' sheet metal heels and a black cross as symbol of her passion and the one, repaid, of the king’s.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[status] => online
[object_type] => sculpture
[name] => Lucrezia Borgia
[year] => 2006
[brand] =>
[location] =>
[shoe_type] => mule
[focus] => toe
[colour_backup] =>
[colour] => EC0A36
[material] => beads,synthetic
[usage] =>
[sex] =>
[style] => glamorous
[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Lucrezia Borgia
First of all this exhibition talks about the collective imaginary, better all that passing through the filters of mind stays inside with no way out. They are details, memory impressions, anything that hits our imagination with no reversibility. They are common places, not always the truth but popular beliefs brought to us by History, with its mysteries tied to fragmentary and inaccurate sources that we catch in aspects such as legends or itching details, that are the most difficult to unveil. Sometimes happens that the guilts of parents fall upon the children, as for Lucrezia Borgia. She never poisoned anyone, she has never been incestuous, she was just woman of her time, with a father that was a centralizer, a boss, an intrigante and a sanguinary man. A brother, Caesar, that killed her husband (however, chosen by his father) the only one that she was really in love with, Alfonso d’Aragona, for reasons of power. In spite of this, I create her sandal which Is based on what everybody associates to the name of Lucrezia: poison. Her heel is a little vial of poison (before someone realized… actually it is a graduated plastic tube for urine). For this I beg her pardon! Lucrezia was a cultured woman, that perfectly understood different languages. She felt a great reciprocated passion, for Bembo, one of the most famous writers of that time; unfortunately this passion is not enough to change her reputation. Lucrezia had artistic skills and her verses, preserved among the manuscripts of the Ambrosian, prove it.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[status] => online
[object_type] => sculpture
[name] => Isabella Rossellini
[year] => 2006
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[shoe_type] => sandal
[focus] => heel,toe
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[colour] => 110DC0
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[style] => animal,experimental
[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Isabella Rossellini (Dorothy Vallens)
This sandal is a personal tribute to my favourite artist David Lynch. Comic-strip writer, painter, screenwriter, director and sound designer. Among his many masterpieces I mention 'Blue Velvet' for it best represents the artist’s odyssey, compelled to mediate among the creativity, the exhausting search of funds to turn dreams to real and the anxiety for the economical returns linked to the producers. After the suffering of the financial setback for the film 'Dune', Dino De Laurentiis accepts to produce 'Blue Velvet' on the condition that the cost of the whole film wouldn’t go over five millions dollars and that Lynch would be disposed to work at minimum wage. The director obtained in exchange the full rights over the final cut. All films where Lynch was given freedom to create have been recognized masterpieces of screenplay and direction. In his films the attention for the detail become a circular element which is almost narrative and it stresses feelings as pathology, mechanical and repetitive banalities that are all characterized by violence of stability; automatized livings deprived of their own will but the one that create them and deads which wouldn’t leave the stage even also after being shot. Everything is well included into the compartments of life that keep going with its apparently primary needs, busy housewives stuffing turkeys, policewomen helping children crossing the road coming out of school, and pensioners watering gardens. Then the insects, alien clever creatures, thieves whose perfect nature allows them introducing every cavity, always present in every story of David Lynch. In Blue Velvet, after a running shot upon the “quiet life” of Lumberton, the cine-camera take a while before getting into the darkness of a terrible pile of bugs swarming inside a human ear. It belongs to Dorothy Vallens’ husband (Isabella Rossellini) singer in a night club, and is found by the young Jeffrey , who will play the detective to solve a case which will let him to keep touch with his innermost perversions. These perversions are what none or less all the protagonists of the movie will have to deal with, between eye games and sudden changes. Switching from victims to torturers in a few seconds during the same shot, nobody’s wants to actually draw attention, and therefore be judged in the act of satisfying their innermost desires. Isabella’s heels are entirely covered of bugs, whereas in the film they enter the ear. There are no bugs on her foot and this is my “happy” ending of the film; the camera frames a “living” ear and a robin, symbol of love, holds a cockroach in its beak as to symbolize a moment of truce that sounds like an armed peace. At the “Slow Club”, the night where Dorothy works, she sings two songs, “Blue Velvet” and “Blue Star”. The sandal’s vamp exactly draws two stars and they are made in PET, instead of velvet as the film might suggest, for it is deepest referral to the original director’s intents. In fact, incredible secrets inhabits into the “everyday” hidden by evidence. The PET bottle is everyday under everybody’s eyes and it is so evident to become, by absurd, invisible. It is the classic water container you can find on every table of the world, in the everyday reality that is also made of dirty business kept in the family till the cloth get so soaked that needs washing directly at the police-office. At that stage it is just crime news. Black. Blackest. As a cockroach’s back.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Dorothy (Frank Baum’s 'Wizard of Oz')
The cyclone, a little dog, a child, Dorothy, three fellows travellers as the Coward Lion, The Tin Woodman, the Scarecrow and an adventure, not that different from “Alice in Wonderland” to the discovery of the world. Unlike Carroll, Frank Baum is more good-natured and doesn’t hides any perversion in his novel, he rather shows how to run along a road and teaches us how to find courage in ourselves to reach our goals, overcoming our own fears through obstacles more appropriate to children’s skills. The bad witch and the good one, are faces of the same coin, a sort of yin and yang where the child can mirror herself and take decision. The wizard of Oz is an important work for the American imaginary. It is a fairytale that differs from European fiction and it is quoted in many films, as “Zardoz” a 1973 sci-fi film, that includes into its title the words “Wizard if Oz”. Zardoz is in fact the name of a cruel divinity that will later reveal his false and absolutely human (as the charlatan of the Wizard of Oz, exactly) or in David Lynch’s Wild at Heart where the protagonist, Lula often remarks her desire to go “over the rainbow”.
“Over the rainbow” is also the title of the famous song that Judy Garland sings in the Fleming’s Wizard of Oz. Lula beats her heels 3 times, imaging, as Dorothy, to be at home again.
Her sandal is made of red velvet, now with just a little string for she has walked a long way and now there is just a tin made heel to hold up, as tin –made was her friend. This sandal is covered by soft plush, remembrance of another fellow traveller which finds himself the courage along his journey.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Cleopatra
Researchers interested in her story have recently revealed that the queen might have been murdered. In Shakespeare’s tragedy step, when the clown brings the Nile’s asp to Cleopatra, he advices her about the danger of the snake, for the suicidal plan hasn’t been declared. The clowns tells her to be aware as the demoniac nature of the snake doesn’t make it proud of the food it eats. Even if the history would bright up certain doubts on Cleopatra’s last day of life, the mystery around this woman will never be disclosed. For the collective imaginary she is and always will be associated with seduction and to the asp by which she got herself killed. For it is far more romantic remember her this way. At the same time it would be less interesting to believe that a proud and strong woman like Cleopatra couldn’t be able to even control her date of death which would be decided by others, perhaps the Romans conspiring with the local aristocracy. Her sandal is made of peacock eyes for the symbol of life’s triumph that immortalized death in a hieratic moment. A stylised winged snake, son of the Nile, subdued to the will of who raised it up and gave it hospitality in her land. Land in which most part of treasures are hidden, not just buried, under the sand.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[name] => Cinderella
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Cinderella
Cinderella runs away down the castle’s stairs for she won’t be back home by midnight the horses will turn back to mice and the coach to a pumpkin. My Cinderella is a chronic late-comer, as I am, she has a pumpkin for heel as now it’s really getting too late. She has a stopped watch making '5 minutes to midnight' on her ankle as a warning and her shoe is not made of glass for I am not the fairy and midnight is long gone.
However, her sandal is transparent but is made of PET, certainly a cheap material but good enough for the occasion, because nowadays Cinderellas, unlike the character of the classic fairytale, have to content themselves with little. There are no many more charming princes around and the most part of men is closer to be similar to rats so that the world should be getting rid of rats.
[keywords] => pumpkin, watch, fairy tale, food, transparant,
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[object_type] => sculpture
[name] => Artemisia Gentileschi
[year] => 2006
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006. Artemisia Gentileschi
Born in Rome in 1593, Artemisia was the daughter of the well renowned painter Orazio. In 1609 her father was working on a project together with colleague and friend Agostino Tassi, master of perspective. Agostino, violent man with a troubled past, got infatuated by Artemisia and - according to the proceedings of the trial - in consequence of the resistance of the girl, he raped her. We ignored what the truth is on the brink of a real passion between the two artists and the revenge of his daughter’s honour by Orazio. The trial started on May, 1612 to finish five months later, with a light condemned for Tassi. After suffering the mortification of several public gynaecological examinations, Artemisia was submitted to the torture of the thumb’s smashing to reveal what the truth was; nevertheless Artemisia wouldn’t take back her testimony (she claimed not to have suffered any violence) she has never believed. As woman –artist, her aggressive style differs from the others women artists as Sofonisba Anguissola, Lavinia Fontana or Elisabetta Sirani, whose embodied more conservatory models; her excellence will make her overtake her own father in skill. One of her well known paintings is the portrait of the Roman Lucrezia, the woman who killed herself after her husband repudiated her due to the shame of rape. Unlike the portraits represented of the same subject, the Artemisia’s Lucrezia is caught brandishing a knife. Her angry look, turned to the sky and her proud pose could make us believe that she wouldn’t commit suicide; it is a symbol of strength and hope, showing an emancipation that seems to anticipate times to come. Her sandal is very simple and revised the torture and mortification endured; a red thread holds her toes and two brushes support her.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[name] => Leni Riefensthal
[year] => 2006
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Leni Berta Helène Amalie Riefensthal
Two women with different and marked destinies, the same historical period. During a dictatorship time as the Nazi Regime, a woman with the passion for the cinema, Leni Riefensthal, benefits of the largest creative freedom as few directors ever had in any other part of the world and time. Photographer, screenwriter, editor and director, with her 'Olympia' she introduced such innovative techniques and style to make her Berlin’s Olympiad documentary one of the biggest cinematographic models ever. Meanwhile, a Jewish girl, Anne Frank, struggled hard days inside a concentration camp, deprived of every sort of freedom and dignity. A diary, which pages were abruptly interrupted and transmitted as sad news until us. I created two opposite sandals, working with the symbology that comes to my memories for their very opposite stories. Leni’s sandal is made of photographic film and it has got a swastika for heels. The crocked cross is the oriental one, that stands for 'universal peace'. This symbol has been re-interpreted by Nazism that applied to the swastika an inclination of 45 degrees for more aggressiveness. The half a swastika symbolized Nazism’s end but it is also the incapability to achieve worldwide peace; the fact that is positioned under the heels of its major artist it is the recovery’s symbol of intellectual freedom. In Anne’s sandal I realized two transparent plastic heels that contained ash, miserable product of lager’s crematories and two sashes made of beads barbed wire, physical and psychological barrier to the freedom of human being.
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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Anneliese Marie Frank
Two women with different and marked destinies, the same historical period. During a dictatorship time as the Nazi Regime, a woman with the passion for the cinema, Leni Riefensthal, benefits of the largest creative freedom as few directors ever had in any other part of the world and time. Photographer, screenwriter, editor and director, with her 'Olympia' she introduced such innovative techniques and style to make her Berlin’s Olympiad documentary one of the biggest cinematographic models ever.
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Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[name] => Alice in Wonderland
[year] => 2006
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[description] => This shoe sculpure is part of a series of 20 sculptures of shoes dedicated to the most relevant women in history, literature, cinema and comics. This project has been commissioned by Superstudio Milan and ANCI, and chosen as opening event for the MICAM 2006.
Alice in Wonderland
Lewis Carroll's novel 'Alice in Wonderland'; represents the metaphor from childhood to puberty with its exciting discovers, fears and contrasting emotions. Alice is still a child when she passes through the mirror and enters a fairytale world but that actually hides, although not so well, deception and dangerous realities. During her fantastic journey, Alice will find some characters more appropriate to mental homes, she will eat mushrooms with properties more similar to narcotics than magical, she’ll hear some nonsense speeches worthy the theatre of the absurd and she will risk to be beheaded several times by the hand of a despot and hysterical queen reigning over the fear of her subjects. Following ferocious political satires and happenings far from what the gilded world of childhood should be, the author, best known in his private life for some particular weird interest to children, leaves some clues of perversion and refinement that will be understood only later. Many fairytales of the past used to hide subliminal messages and some 20 years ago cartoons transmitted not much reassuring values: nowadays the situation is not that better; if, in a way, there is more attention not to show death as a spectacle, on the other hand cartoons are nothing but a marketing product treated for supporting the setting of the correlated merchandise, identifying children as very precocious consumer’s target.'Alice's sandal is the one that she could be wearing at the end of the novel, when she says to the Queen of Hearts a just: ';Stop it! Who do you think you are? You’re nothing but the queen of a pack if cards!'; Alice grew up, she is no more scared as now she is self-conscious. She steps on the queen’s card; with its tinged cruelty this story teaches us that life is circular and that it takes a second to switch from losers to winners, from victims to executioners, from the dead to the living.'
Courtesy of Daniele Fontana at Whitenoisephotography 2007.
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[title] => Barbara Zucchi
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