Meret Oppenheim’s artwork, Ma gouvernante – My Nurse – Mein Kindermädchen, is an evocative piece that challenges traditional notions of femininity, domesticity, and the objectification of women. Originally created in 1936 and replicated in 1967, this surrealist sculpture features two white, high-heeled shoes bound together, laid on a silver platter, and adorned with ruffled paper decorations reminiscent of those used on cooked poultry served at an elegant dinner. The juxtaposition of domestic symbolism, the formal arrangement of shoes, and the culinary presentation delivers a powerful critique that invites viewers to question conventional roles assigned to women and the fetishization of the feminine.
Surrealist Symbolism and Domestic Imagery
The artwork, which measures 14 x 33 x 21 cm, embodies the signature approach of the surrealist movement by combining unrelated objects to evoke a sense of disorientation and to blur the boundaries of dreams and reality. The pairing of shoes, typically considered an everyday item, with the visual language of haute cuisine, forces viewers to confront the unnerving yet strangely familiar. The silver platter suggests servitude and sacrifice, while the act of binding the shoes with string may symbolize the constraints imposed on women throughout history—further compounded by the dainty white ruffles often associated with fragility and traditional expectations of beauty.
The Influence of Freud and Themes of Femininity
Meret Oppenheim was a key figure in the Surrealist movement, and her work often dealt with themes related to sexuality, identity, and the construction of femininity. Her influences included the theories of Sigmund Freud, which permeated much of the surrealist discourse of the time. Freud’s explorations of the unconscious, sexuality, and the complex interplay between desires found their way into Oppenheim’s work. Shoes themselves are often laden with psychological meaning, from connotations of fetishism to symbols of journeys and personal identity. In this piece, Oppenheim has taken something as seemingly mundane as a pair of shoes and transformed them into a vessel for deeper meaning—both binding and serving, thus challenging viewers to confront the forces that shape social norms around femininity.
Shoes, Fetish, and the Uncanny
Oppenheim’s treatment of shoes also evokes the association of feet, footwear, and fetish—common themes in her broader body of work. In surrealism, it was not uncommon to draw on the familiar and give it a twist of the uncanny, leading to artworks that evoke strong feelings of unease or curiosity. The decision to serve the shoes as though they were a delicacy is an act of subversion; it comments on the commodification of the female body, presenting it as something to be consumed and enjoyed, yet also something that is trussed up and constrained. The name of the work, Ma gouvernante, or My Nurse, hints at the domesticated and nurturing roles often foisted upon women, yet the cold and clinical presentation brings out an almost macabre aspect of what is expected of the feminine.
Exhibition History and Impact
This artwork has been exhibited multiple times at Moderna Museet in Stockholm, with its first acquisition made possible through contributions from The Friends of Moderna Museet in 1967. The museum has presented Ma gouvernante across various thematic and retrospective exhibitions, reinforcing its importance as part of the modern art collection. The piece’s enduring impact can be attributed to its ability to provoke dialogue around issues of gender, sexuality, and societal expectations—issues that remain as pressing today as they were during the 1930s.
Aesthetics of Tension and Reflection
The aesthetics of the piece evoke feelings of tension and discomfort, but therein lies its power. By using mundane items to construct a tableau that feels both ceremonial and grotesque, Oppenheim challenges viewers to reconsider the roles that have been placed upon objects—and, by extension, people. It is a work that holds a mirror up to the absurdities of societal expectations, and in doing so, it has cemented its position as a key work within the Surrealist movement and modern feminist discourse.
Currently on view at Gallery 01:6 at Moderna Museet, Ma gouvernante – My Nurse – Mein Kindermädchen continues to intrigue audiences with its elegant yet unsettling portrayal of womanhood. It invites each of us to question how objects and bodies are bound, displayed, and served up to meet expectations, while also offering the opportunity to break away from these binds. With its unconventional marriage of materials—metal plate, shoes, string, and paper—this piece remains a striking commentary on the constraining nature of gender roles and the inherent tension between domesticity and personal autonomy.
