Self portraits by Arvida Byström and Maja Malou Lyse with art pieces by Anna crews and Aiden Morse, Hillian Mayer, Gabby Bess and Rosemary Kirton, Jennifer Chan, Christine Brache and Patricia Alvarado.
Shot in the show LIKE, curated by Arvida Byström and Maja Malou Lyse 2014.
Like show exhibited in Gallery Q in Copenhagen, Krabbesholm in Skive and Art Baby Gallery on the WWW.
"Like, u know. The word like is like, seen as something redundant, like the way female coded objects are like, u know, well, the colour pink or u wearing lipstick is seen as something unnecessary, but like, for some people it’s still like pretty enjoyable and it’s not like it’s hurting anyone else really.
And then like, the verb ‘to like’ something online is like, you know, when ur getting that ‘like’, you know what ur social value is in a money-driven society. But like at the same time it’s like based on something pretty positive and like actually some kind of support when like, u know u r liking someone’s selfie. U know, if we like think about ‘liking’ in relationship to selfie haters, well it might not be sellable to like hate on selfies but like, it’s pretty mean. But like yeah.”
Two identical panties worn by Tim Kelly and Arvida Byström. Once off and sealed in plastic, no one to knows who worn which.
Photography and art pieces by Arvida Byström from Charlotte Cullen’s show Intimates’ index. 2013.
A pair of used panties in need of a wash is in its material sense useless. With the same perspective you could argue that when the painting is dry, the plaster is rock hard or the film exposed, it is no longer usable and should therefor have the purchase value less than its raw materials put together.
Although, on the right platform, used panties rise in value along with a buyers will to fetishize the object and its seller. When compared with artifacts and their sometimes absurd prices, the idea that your used panties is actually worth something more than a wash, brings a disturbing feeling about what capitalism is actually about.
You as a person behind the objects serve as the factor of raising the price from their raw material value. Even though you can hide your face behind a created brand, you still get encouraged to strive to be worth someones money.
How will this altering of the perfect person mold us as beings? What does it make of us to know we have to alter the person behind the objects to make a bigger profit, the profit that society tells us we need to make? How can we reclaim the ownership over our own objects, and in that sense also our bodies, from the capitalistic societies fetishizing power?
Text by Hanna Antonsson, Arvida Bystrom and Charlotte Cullen for Charlotte Cullen’s “Intimates’ Index” at Gal.