Elina Chauvet created the installation *Red Shoes* in 2009, after her sister was murdered by her husband in a case of domestic violence in Ciudad Juárez, Mexico. She was 32 years old, and the work served as a way to ease the pain through art and also to inspire others to report and prevent femicides.
Chauvet recently noted that the project was replicated in Bucharest last month—without his knowledge or credit—by Romanian news anchor Alessandra Stoicescu. The issue sparked a debate: Can a work with a social purpose—such as raising awareness about femicide—be considered the property of a single person, or should it be freely reproducible to advance the cause, even if it doesn’t adhere to artistic guidelines? Here a conflict arises: sharing the message is important, but ignoring the person who created it is also an injustice.
Art Weekends spoke with the artist, who is originally from Casas Grandes, Chihuahua, about this.
“Red Shoes” Takes on New Meaning
In this day and age, does a work like *Red Shoes* take on new meanings depending on the context?
I believe that ” Zapatos Rojos ” takes on new meaning when the element that defines its form becomes a source of inspiration and gives rise to new proposals and ideas, even though the message remains the same. Many artists have done this; they use the symbol to speak in their own languages. Essentially, the project itself has remained the same since it began its international journey 15 years ago, starting in Italy and Argentina.
So I suppose there is some reinterpretation, of course, as it adapts to the different contexts in which it appears, but it really remains very true to its meaning in different places, because, basically, violence against women in different contexts is very similar.
You’ve been working with social themes since the 1990s. What do you feel defines you as an artist at this point in your career?
Ever since I started creating social media content, I’ve identified with issues that make me uncomfortable. Over time, and because of what happened to my sister, I’ve focused on violence against women in all its forms. I really struggle to define myself because I believe I’m living through a historical moment that’s constantly changing, and perhaps without realizing it, I’m part of that change too. As for my career path, I just want to remain dignified and true to the issues I work on and keep moving forward. I’m already living my future—one that’s more humane and empathetic for new generations, more compassionate toward others’ pain.
How Art Brings About Real Change
The shoes are donated by the community. Do you think there is greater social awareness today? Do projects like this bring about real change?
Yes, there’s definitely more social awareness; I’ve seen how the issue has evolved over these past 17 years. Before, it was taboo and there wasn’t even a vocabulary for it; now we can name things. I do believe that projects like this bring about real change, and I see it when new laws are passed and the image of the red shoes appears in the news, or when I’m sent schoolbooks featuring an image of one of the installations. The installations are social movements that drive change.
The installation has been replicated in many countries, sometimes without authorization, as in the case of the TV series. How have you dealt with this kind of appropriation throughout your career?
There have indeed been many imitations outside the project, and it is not my intention to discourage them—nor has it ever been. On many occasions, I haven’t been given credit; on many others, I have. Most of the time, the lack of recognition stems from ignorance and the fact that there hasn’t been any research into the project—they simply see it somewhere and replicate it without further thought. But most of the time, they do do their research and request the work.
From the very beginning, and throughout the creation of this conceptual and public work, my priority has been to preserve its integrity; had I not done so, it would have already dissolved. By maintaining its authorship, it retains its character as a work of art and remains unaltered in concept, process, and form—something that is essential for raising social awareness.
How many pairs of red shoes have you collected?
I currently have more than 300 pairs of shoes sent from different countries, as well as a comprehensive archive of videos, photographs, objects, books, theses, and more. This is a record of the 17-year journey of Zapatos Rojos around the world. In the agreement I’m sending for the replica, there’s a clause limiting each person to just one replica to prevent monopolization.
The issue of plagiarism involving Zapatos Rojos in Bucharest
Why was the case in Bucharest different?
The case in Bucharest, Romania, was unusual because the person knew I was the artist—they had already done this in 2018—and yet they once again omitted my name and did not request the work. There was no public engagement process, and they only took the final part of the installation, the one with the greatest visual and media impact.
“For me, ‘Zapatos Rojos’ is not a work that should or can be used to make a profit. I haven’t done it, and no one should,”,” says Elina Chauvet.
What does *Zapatos Rojos* mean to you on a personal level, especially given your family history?
For me, it represents 17 years of work and dedication to a cause I believe in; it represents my life story; it represents the love I feel for my sister and the void she leaves behind; and it represents my mother’s pain—that same pain felt by mothers, sisters, and families all over the world who have experienced or are currently experiencing this same grief.
“Red Shoes is my story and my sister’s”
In your letter, you mention “erasing.” What does that erasure mean to you in a broader context?
“Red Shoes” is my story, my sister’s story, my mother’s story, and the stories that this project also tells—the very stories that propelled it onto the world stage. The massacre of young women in Ciudad Juárez, their disappearances, and the pain of so many families; the thousands of stories that have accompanied this project around the world; the tears I see at every installation I’ve attended. All of that cannot be erased for the sake of someone’s personal interest.
How would you describe where you are in your career as an artist? What are you working on right now?
My life right now is quite fulfilling in the sense that I can devote myself entirely to creating and fulfilling my artistic commitments. I’m really excited to participate in and be part of new projects. I’m currently working with various graphic media, such as collage, printmaking on paper, and I’m starting a project in textile design and embroidery. In mid-May, I’ll be in the city of Culiacán, Sinaloa, for a project called Casa Migrante—a collective piece, of course, and a very political one.
In the wake of this controversy, what changes would you like to see in the way artistic work is respected?
We know that creating art is difficult. It’s a complicated world for creators. But what would we be without art? I think what needs to change is human behavior. Honesty is an important issue; I’d like people to have that courage.
Check out more interviews in AW Magazine.
