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Walking piece 1991

Shoes for Departure

Shoes for Departure

Sub-collection

Embodiment or Mind Body Connection

Sub-collection · 29 items

Meditation

Collection · 34 items
Sub-collection

ritual

Sub-collection · 21 items
Sub-collection

Wearables and Tools

Sub-collection · 37 items

Related

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Sub-collection

Embodiment or Mind Body Connection

Sub-collection · 29 items

Meditation

Collection · 34 items
Sub-collection

ritual

Sub-collection · 21 items
Sub-collection

Wearables and Tools

Sub-collection · 37 items

Related

Walking piece

Walk 2

Walk 2 (Margate, 2010) had 200 participants walk in silence atop the Marine Bathing Pool wall, maintaining one-metre spacing. Exposed to wind and cold, the walk demanded focus and discipline, fostering a meditative, trance-like awareness of body, rhythm, and environment.

Hamish Fulton
Walking piece

Seat Belt, Three Points

Seat Belt, Three Points invites viewers to strap into a seat belt attached to three stations, creating a physical interaction with the artwork. Baden’s works explored kinesthetic experiences and neuromuscular memory, altering perceptions of balance and sensory imprint.

Mowry Baden
Walking piece

Pre-Image (Blind as the Mother Tongue)

Pre-Image (Blind as the Mother Tongue) retraces Hiwa K’s five-month journey fleeing Iraqi Kurdistan, using a balancing device with mirrors to evoke the disorienting experience of migration, memory, and adaptation

Hiwa K
post

Danzar o Morir on the Sierra Tarahumara paths

The long-distance running and ritual dance among the Ralámuli of Mexico’s Sierra Tarahumara is a practice that holds the power to heal and sustain the world. Author Sylvie Marchand has lived among them for years and reflects on this ritual through a dialogue of perspectives: that of Erasmo Palma, Ralámuli poet and cultural guide, and

Sylvie Marchand
Shoes for Departure is part of Marina Abramović’s Transitional Objects series, exploring the use of crystals and minerals in interactive objects as emotional or symbolic transitions. The work connects walking, departure, and psychological journey, reflecting her focus on the body’s limits, transformation, and personal rituals.

Shoes for Departure are made from pure amethyst and weigh 70 kilos, so you can’t walk. People in the public should take their shoes off, wear the amethyst shoes, close their eyes, not move and depart. The proposition is the mental – not the physical – departure.

Shoes for Departure is part of Marina Abramović’s Transitional Objects series. In this series, Abramović explores the use of crystals and minerals in interactive objects that serve as emotional or symbolic transitions, particularly focusing on the relationship between the body, mind, and physical objects. Shoes for Departure involves the act of walking, a theme she has often explored in her performances, with the shoes symbolizing a deeper psychological and emotional journey.

“Enter the shoes with bare feet. Eye closed. Motionless. Depart.”- Marina Abramović

_
Based on information provided by the Sean Kelly Gallery website.

APA style reference

Abramović, M. (1991). Shoes for Departure. walk · listen · create. https://walklistencreate.org/walkingpiece/shoes-for-departure/
Submitted by: Dani Spadotto

oversupinate

People who jog, run, and sprint have their share of problems that slow-moving people can barely comprehend. One is oversupination. As the OED defines it, to oversupinate is “To run or walk so that the weight falls upon the outer sides of the feet to a greater extent than is necessary, desirable, etc.” A 1990 Runner’s World article gets to the crux of the problem: “It’s hard to ascertain exactly what percentage of the running population oversupinates, but it’s a fraction of the people who think they do.” Credits to Mark Peters.

Added by Geert Vermeire
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