Duo Show with Salim Bayri︎

W139︎ - Amsterdam


Voluntarily or involuntarily we humans shed our dead skin. In this exhibition, Ghita Skali and Salim Bayri take this fact as their starting point to zoom in on the ambiguities within our relationship to dead skin—the tensions between its acceptance and rejection (some keep it, some scrub it away), its proximity and our neglect, our indifference and its unstoppable production, our obsession and care but disgust once it leaves the body.

Offering €20 per gram, dead skin collection networks emerged through gossip, online advertisements, business cards, and stickers distributed around the city repeating the slogan “get money for your dead skin”. A naive attempt to create a new kind of currency while simultaneously diverting and redistributing public money to people who took the bait out of curiosity, necessity, or entertainment. Within this context, an intimate and immediate material such as skin becomes a possible commodity. How dirty can money be?

What happens when a value is set on something we expel from our bodies? When there is the possibility of getting a reward for something that is usually discarded, dilemmas arise between economic interests, integrity, ethics, labour, and exploitation—echoing the metaphor of ‘selling your own skin’. Despite this enticing offer, some people had no interest in this exchange, provoking the question “who can afford not to sell their own skin?”.

The exhibition is composed of all new works. A “Dead Skin Cash” information welcome desk gives way to large printed textiles that appear as aerial views of landscapes but which in fact are made of dead skin samples from contributors. Inside empty construction and spa buckets are recorded voices and sounds from the conversations of disgust and amusement with strangers, confusion from nail salons, and a dermatologist’s opinions. Upstairs, a ‘classical’ exhibition room displays collages made with found images and collected material. Further in, the video “Semiotics of the Hammam”—a direct response to Martha Rosler’s “Semiotics of the Kitchen”— shows a character trapped in a dry hammam presenting, with irritation, hygiene tools that gradually start to feel like weapons.

Dead Skin Cash

Installation with toolkits to use by the audience, printed pictures of participants, scale, dead skin, money exchange and a monitor vitrine presentation.


Print of fabrics of dead skin, buckets with soundpieces, watering hoses. 

Soundscapes available here ︎


Different samples of dead skin in plastic bags and hoses. 

Semioticss of the hammam

Installation with a video of 8min, benches and marble stickers

Skin bae
collages with images from National Geographic magazine, dead skin, too much glue, and soya sauce on paper. + DSC cake


Curator: Margarita Osipian
Visual identity: Oriol Cabarrocas
Actor: Jaouhar Bourhram
Camera operator: Ayoub Abouizza
Color grading: Kimball Holth

Special thanks to Dunya Hammam, Reda Senhaji, Ghassan El Hakim and Sabaah Folayan

W139 Team: Tomas Adolfs, Nadia Benchagra, Dana Claasen, Levi van Gelder, Dil Ghale, Sam Geer van der Klugt, Kirsty McIntosh, Margarita Osipian, Claudio Ritfeld, Annette Wolfsberger

Support team: Andre Avelas, Grimm van den Berg, Hugo Inglez, Alma Kim, Boris van Nes, Pedram Sazesh, Sabrina Simons, Sophie Soobramanien, Shreya De Souza, Angus Liao Zhixin

Photography: Pieter Kers
Video documentation and editing by Giulia Jiménez Tani


Supported by: City of Amsterdam, Mondriaan Fund, Prince Bernhard Culture Fund and Amsterdam Fund for the Arts

Press Leakage

︎ 2024: L’art absurde du marché du travail - Tracks - Arte 
︎ 2023: Dead skin doesn't stink - by Persis Bekkering - Mister Motley
︎ 2023: Dead Skin Cash an ode to the skin, a social and political battleground - by Roos van der Lint - De Groene Amsterdamer
︎ 2023:What happens when your dead skin suddenly have value?- by Lisa Lotens - Vice nl