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In the heart of London, the Cute exhibition at Somerset House presents a unique exploration of the “cute” phenomenon in contemporary culture. This intriguing display, opening on Thursday, delves into the multifaceted influence of cuteness, a concept deeply ingrained in our everyday lives yet rich in complexity and history.
The Somerset House, a prominent art center on the Thames’ banks, buzzed with excitement as it welcomed influencers and enthusiasts for the exhibition’s inaugural evening. Dressed in Japanese schoolgirl uniforms, adorned with Hello Kitty dresses and Pikachu hats, these early visitors embodied the playful spirit of the exhibit, capturing moments for their vast social media followings.
Cute, adorned with vibrant pop colors, ambitiously bridges the gap between the virtual and the physical. The exhibit showcases an array of art pieces, video clips, video games, and social media memes, reflecting the global spread of this virtual culture since the advent of the internet. It’s an immersive experience, presenting a physical manifestation of a world that has predominantly existed in the digital realm.
The exhibition’s initial room pays homage to cats, the unrivaled stars of the internet. Here, visitors find a striking contrast between monochromatic 19th-century feline photographs and futuristic, rainbow-hued kitten portraits generated by artificial intelligence. This juxtaposition not only highlights the timeless allure of cats but also showcases the evolution of the representation of cuteness across different eras.
Moving further into the exhibition, a fascinating blend of art and pop culture awaits. A collage featuring curly-haired Renaissance cherubs — the original “cute babies” of art history — merges seamlessly with an array of plush toys, manga, and iconic figures from Japan’s 20th-century kawaii culture, a term translating to “cute” or “adorable.” This section illustrates the historical depth and cultural diversity encapsulated in the concept of ‘cute.’
Curator Claire Catterall admits the challenge of pinning down a precise definition of “cute.” She describes it as “slippery, very delicate to define,” underscoring its appeal as a concept that embodies multiple facets simultaneously. This elusive quality of cuteness is what makes the exhibition particularly intriguing, prompting visitors to ponder its various interpretations and implications.
The exhibition cleverly integrates contemporary art with commercial products, like the iconic Tamagotchi toys and Sylvanian Families. These inclusions illustrate the undeniable commercial aspect of “cute,” showcasing its role as a powerful, billion-dollar industry. Sponsored by Sanrio, the Japanese company behind the world-famous Hello Kitty character, the exhibition acknowledges the commercial power of cuteness while exploring its artistic and cultural dimensions.
Cute also delves into the relationship between cuteness and capitalism, a connection that curator Claire Catterall notes can be discomforting. However, she emphasizes that the structures created by this industry can also be the most disruptive. This paradoxical nature of the “cute” culture, intertwined with capitalism, reveals deeper societal and cultural undercurrents.
The exhibit has also become a platform for self-expression and defiance of norms, particularly among young people, women, and queer communities. By embracing the aesthetic and fashion codes of the “cute” culture, these groups find a way to exist outside traditional societal norms. The exhibition, thus, transcends its aesthetic appeal, becoming a symbol of empowerment and identity.
In a more political vein, the exhibition briefly touches on the use of cuteness as a form of protest. A standout display features a pink fuschia balaclava from the Russian feminist punk rock group Pussy Riot, known for its provocative actions against President Vladimir Putin. This inclusion highlights how the seemingly innocent and playful can become powerful symbols of resistance and political expression.
Embracing the global trend of immersive experiences, Cute offers interactive elements to engage its audience. Visitors can immerse themselves in vintage Japanese video games and participate in a “pajama party” in a recreation of a teenage bedroom complete with bean bags and pop music, crafted by British artist Hannah Diamond. This interactivity is central to the exhibition’s philosophy, aiming to create an environment where visitors can experience the joy and positivity of the “cute” culture.
In the words of Claire Catterall, the exhibition is “exuberant, exciting, and stimulating.” It transcends being merely an aesthetic; it’s a feeling, an experience designed to uplift and provide a respite from the daily grind. Cute stands as a testament to the enduring power and appeal of cuteness, a phenomenon deeply embedded in our culture and psyche, offering insights into our world and ourselves.
With AFP
