The changing role of the visual arts at KKNK
by Tavish McIntosh
The visual arts component of the Klein Karoo Nationale Kunstefees (KKNK) tripled its revenue this year making just over R600 000. This resounding commercial success was the result of a more conservative visual arts programme which saw the ever-popular Judy Woodbourne promoted as the festival artist. Visual arts curator of the festival, Theo Kleynhans, adopted a safe route by championing artists whose work would appeal to the 'man in the street', unversed in art-speak. Painting was the order of the day at most exhibitions. But artists and viewers alike have expressed concerns in the wake of this year's festival, arguing that this year's work was just not of the same high standard as in former years.
This conservatively commercial tilt was reflected in the range of music presented at the festival, which raises the question: what is the role of the musical and visual arts at this festival traditionally predicated upon the dramatic arts? Do the organisers want rigorously intellectual shows which challenge viewers or do they want the 'minor' arts of the festival to become self-sustaining and commercially viable by catering to the tastes of the average festival-goer?
It will be interesting to note the results of this commercial success in next year's festival. Will the lure of money mean that the visual arts are allocated locations more conducive to viewing and appreciating art rather than being squashed willy-nilly into buildings on the sidelines of the event? Will the arts be allocated more Canna awards (there is only one for the visual arts at the moment)? Alternatively, will this fluctuation in quality generate greater sponsorship of the visual arts component and more challenging shows?
Perhaps as Chris Diedericks, curator of 'FLESH!' articulated, the visual arts needs to encourage debate through shows that combine the public and academic approaches to art, thus allowing the lay viewer to engage on whichever level they are comfortable. Diedericks' show, which was advantageously situated close to the heart of the festival, played down the 'challenging' debates on pornography in order to grapple with 'healing and acceptance' and viewers welcomed this contribution to the programme. However, Diedericks noted he is 'worried about the festival' - worried that commercialism will undermine its ability to critically engage visitors.
