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Curated by Anthony Kiendl
Rather than a collection of cute objects, Fluffy deconstructs cuteness as a cultural signifier.

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Iain Baxter, Baled Out, 1996, toy stuffed animals, wire mesh, stainless steel straping

The facility of cuteness to inspire a wide range of reactions -- from adoration to disgust -- makes it one of the most peRegina Public Libraryexing and dynamic modes of visual communication imaginable. Fluffy explores how a plethora of artists position themselves in relation to cute imagery, or use it as a strategic means of expression. Rather than a collection of cute objects, Fluffy deconstructs cuteness as a cultural signifier, seeking a more nuanced understanding of this visual information which is little understood and frequently disregarded. The exhibition also illustrates a dynamic range of concerns, subject positions and practices which make the artists gathered here distinct from one another. Fluffy is part laboratory, part fiction and part documentary. Gathering together threads from mass culture, consumerism, advertising, aesthetics, animation, comics, character culture, techno music, science, genetics, biotechnology, feminism, history, globalization and psychoanalysis, this exhibition is a work in progress. Just as post-modernism has sought to re-evaluate and make sentimentality and nostalgia credible or worth re-consideration, Fluffy seeks to come to terms with this distinct visual economy. Research for this exhibition was made possible with the generous assistance of the Japan Canada Fund. Presentation was made possible by The Canada Council for the Arts and Saskatchewan Arts Board.


2000, Jan 2 2000 - All day


Dunlop Central Gallery,


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