Exhibition «cute/acc»
A project of a paired exhibition and sound performance by post-cute artists on the theme of accelerationism based on the book «Cute Accelerationism».
«Cute means nothing. Zero»
The rapid pace of modern market economy development has plunged humanity into a state of critical acceleration of the concept of «Cuteness.» The endearment response, originally evolved to nurture vulnerable offspring, has been repurposed over millennia now exploited to stimulate overconsumption through adorable mascots and plush toys.
The advent of the Internet, enabling anonymous groups to form closed societies, has further accelerated this process, propelling kawaii into unsettling experiments with human corporeality.
The process is now irreversible. To dismantle the cult of Cuteness and break free from its shackles, one must violently rupture through it by means of annihilation.
Photo: Anastasia Chernysheva
Photo: Anastasia Chernysheva
Photo: Anastasia Chernysheva
Photo: Anastasia Chernysheva
The exhibition took place within the creative space «NII Snegiri» (an abandoned Research Institute of Precious Metals) at «augallery___», a venue that rapidly gained recognition after its «Curators' Exhibition». The showcase opened on June 5th and ran for one week.
Around 150 guests registered for the «cute/acc» vernissage. Despite extensive international coverage, this marked Tsvely Sup’s first exhibition in Russia. We presented approximately 130 of their works across various formats. The «Gao Performance» became the gallery’s first sonic artwork exploring post-cuteness.
New Mediums, Sound Art and Gao-Performance
The core concept of the exhibition lies in rethinking the phenomenon of «cuteness» that has been appropriated by capitalist society for monetary gain. Each artist proposes their own unique approach to addressing this issue.
Place of Performance
My key approach reflects in hyperbolizing the issue in the most classical accelerationist sense.
The sound in the Gao Performance manifests as a distorted, sped-beyond-recognition audio collage: popular music shards, Vocaloid voices, advertising jingles, plush toy sounds, and other elements of cute pop culture. By pushing toward extremes, I aim to immerse the audience in a visceral audiovisual affect.
The performers are individuals deeply immersed in animegao kigurumi culture. These cosplayers appear unsettlingly uncanny, denying viewers any glimpse of the real person behind the mask.
Working with six audio tracks, the performers synthesize unique sonic compositions in real time from provided sound banks.
*Animegao kigurumi — a cosplay variant featuring full-body anime character costumes with oversized heads
Лин на выставке
Outside of musical performances (both before and after), the Dolls roam the exhibition like any other visitors—interacting with each other and bystanders, observing artworks, even running around playing hopscotch. Through this performance, I explore how profoundly a costume can alter human identity.
Visual component of the exhibition, traditional mediums
Tsvelyy Soup’s approach follows a more traditional path, aligning with the broader trends of the genre. The artist embraces imperfection, deliberately distancing herself from commercial polish. She never uses an eraser, never corrects, never edits the final result. Uneven lines, incompleteness, and unattractiveness are all acceptable to her.
Work process
Soup’s works radiate sincerity, edging so close to childlike doodles that they make no attempt to demand attention. The gallery, hung with her pieces, bears no resemblance to a traditional exhibition space—instead, it feels like a teenager’s bedroom, chaotically plastered with hastily drawn sketches.
About the artists
raremotherfucker — sound artist, curator. Operates at the intersection of organic matter and technology. Frequent guest performer at GOST Zvuk, Specter & Drama, and Kamooshkey events. Resident artist at Moscow’s «Kultura».
Key exhibitions: 1. GES-2: Sound. Showcases: GOST ZVUK (Moscow, Russia) 2. MMoMA: «Collection. The Order of Things». Sound design for installation «Trophyres» (Moscow, Russia) 3. Moscow Exhibition Halls: Khodynka & Rostokino Galleries. Sound accompaniments (Moscow, Russia) 4. HSE ART GALLERY: «Design Futures. Synesthesia», «Telling Stories». Sound design (Moscow, Russia)
tsvelyy soup — Digital artist, member of #BRG collective—a group of visual artists, writers, and musicians working within the postmodern aesthetic of digital spirituality.
Key exhibitions: 1. The Saints of the Impossible (Berlin, Germany) 2. Tsvelyy soup personal exhibition (Mangera, Australia) 3. Club Redacted (Los Angeles, USA)
left — tsvelyy soup, right — raremotherfucker
The final visual research played a significant role in shaping the theoretical framework for the exhibition. It allowed for the identification and theorization of overarching trends in contemporary art.
By analyzing the fundamental principles of post-cuteness, I was able to isolate the defining characteristics of the genre—effectively establishing it as a distinct artistic movement. This research enabled me, as an artist, to transition my practice from a traditional medium (painting) into a contemporary one (sound), despite the lack of prior precedents.
Furthermore, examining exhibitions, artists, and their works significantly streamlined and enhanced my curatorial process. I assimilated a wealth of creative concepts and spatial strategies, refining my approach to exhibition design.
Thank you! Curator: Nikhat Karaev Artists: Nikhat Karaev and Sofia Zalesskaya Performers: Lyn Doll, Mary Erem
Venue: augallery___, Snegiri Research Institute Gallery team: Elizaveta Gellert, Larion Tareev, Valeria Vazyukina
Exhibition installation: Nikhat Karaev, Sofia Zalesskaya, Elizaveta Gellert, Andrey Kislov Assistance in organizing sound performance: Oleg Olzhabaev, Fyodor Ignatenkov
Photographer: Anastasia Chernysheva Operator: Masha Hertz
Project Curator (HSE): Evgeny Voronovsky
