Kknk 2023
KKNK 2022

Virtual Gallery

This year's Virtual Visual Arts Exhibition allows you to experience the entire exhibition as if you were there in person. Enjoy the breathtaking gallery without leaving your chair!
KKNK 2022


Dankie aan al ons borge, gaste en vennote, en geluk aan ieder en elke wenner! Die Kannas was 'n aand van uitnemendheid, samesyn en dankbaarheid.
KKNK 2022


'n Paar hoogtepunt foto's van KKNK2022
KKNK 2023

1 tot 9 April 2023

Feesgangers kan solank #KKNK2023 in hul dagboek aanteken van 1 tot 9 April 2023!
Absa Kknk
Absa Kknk

Nuutste nuus uit
die KKNK-kantoor

Kunsliefhebbers vir wie besigtiging van die visuele kunsuitstallings nie beskore was tydens die Klein…
Die Klein Karoo Nasionale Kunstefees (KKNK) se Kannapryse, wat erkenning aan produksies en individue…
 Jongmense wat hul toneelspelvernuf wil slyp én heerlike pryse van meer as R50 000 in…
Die 26ste Klein Karoo Nasionale Kunstefees (KKNK) is vanaf 29 Maart tot 3 April…
Die Klein Karoo Nasionale Kunstefees (KKNK) vind in sy aangepaste nuwe vorm van 29…
Die Klein Karoo Nasionale Kunstefees (KKNK), ondersteun deur Absa, bars uit sy nate van…
Suid-Afrika se jong akteurs wat hul talent wil slyp en landswyd teen hul eweknieë…
Oudtshoorn skud ná ’n afwesigheid van twee jaar sy vere reg om feesgangers van…

Ontvang die

KKNK nuusbrief

𝐋𝐢𝐟𝐭𝐢𝐧𝐠 𝐨𝐟 𝐭𝐡𝐞 𝐯𝐞𝐢𝐥
𝐂𝐮𝐫𝐚𝐭𝐞𝐝 𝐛𝐲 𝐃𝐫 𝐏𝐚𝐮𝐥 𝐁𝐚𝐲𝐥𝐢𝐬𝐬 𝐚𝐧𝐝 𝐘𝐨𝐲𝐢𝐬𝐚𝐧𝐢 𝐌𝐚𝐠𝐰𝐞𝐛𝐮, 𝐀𝐛𝐬𝐚 𝐆𝐚𝐥𝐥𝐞𝐫𝐲

In The Words Of Sir Winston Churchill: “Never Let A Good Crisis Go To Waste.” Following The Devastating Impact Of Covid-19 On All Sectors Of Society, Including Visual Artists, This Exhibition Takes To Heart This Infamous Phrase. @Mstudiocommunity  Absa Art Gallery

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐊𝐚𝐫𝐢𝐧 𝐏𝐫𝐞𝐥𝐥𝐞𝐫: 𝐝𝐢𝐞 𝐰𝐞𝐫𝐤𝐤𝐚𝐦𝐞𝐫 𝐯𝐚𝐧 𝐝𝐢𝐞 𝐭𝐨𝐰𝐞𝐧𝐚𝐚𝐫
𝐀𝐫𝐭𝐢𝐬𝐭: 𝐋𝐢𝐞𝐳𝐚 𝐋𝐨𝐮𝐰

Karin Preller, One Of South Africa’s Foremost Painters, Shares Ideas On Inspiration, Exploration, Process And Execution As She And Others From The Artworld Reflect On Her Work. 

Preller’s Work Relates To The Documentation Of Memories Instilled By Photographs From Her Childhood And From Family Albums. Her Paintings Reflect Her Desire To Innovate By Expressing History In A Contemporary Manner. 

The Deviation From Traditional Inspirations Triggered The Development Of Preller’s Personal Painting Style. Her Work Renders Exclusive Images Of Snapshots From The Past And The Film Sets Out To Share An Insight Into Her World. @Liezalouw 

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐓𝐡𝐫𝐞𝐚𝐭𝐞𝐧𝐢𝐧𝐠 𝐓𝐡𝐫𝐞𝐚𝐝𝐬

𝐓𝐡𝐢𝐬 𝐞𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐜𝐨𝐦𝐩𝐫𝐢𝐬𝐞𝐬 𝐚 𝐬𝐞𝐫𝐢𝐞𝐬 𝐨𝐟 𝟏𝟒 𝐜𝐥𝐨𝐭𝐡𝐬 𝐨𝐧 𝐥𝐨𝐚𝐧 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐔𝐧𝐢𝐯𝐞𝐫𝐬𝐢𝐭𝐲 𝐨𝐟 𝐉𝐨𝐡𝐚𝐧𝐧𝐞𝐬𝐛𝐮𝐫𝐠 (𝐔𝐉). 𝐓𝐡𝐞 𝐜𝐨𝐦𝐦𝐢𝐬𝐬𝐢𝐨𝐧𝐢𝐧𝐠 𝐨𝐟 𝐚 𝐬𝐞𝐫𝐢𝐞𝐬 𝐨𝐟 𝐜𝐥𝐨𝐭𝐡𝐬 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐔𝐉 𝐜𝐨𝐥𝐥𝐞𝐜𝐭𝐢𝐨𝐧 𝐰𝐚𝐬 𝐢𝐧𝐭𝐞𝐧𝐝𝐞𝐝 𝐭𝐨 𝐚𝐬𝐬𝐢𝐬𝐭 𝐢𝐧 𝐩𝐫𝐨𝐯𝐢𝐝𝐢𝐧𝐠 𝐞𝐦𝐛𝐫𝐨𝐢𝐝𝐞𝐫𝐞𝐫𝐬 𝐰𝐢𝐭𝐡 𝐦𝐮𝐜𝐡-𝐧𝐞𝐞𝐝𝐞𝐝 𝐰𝐨𝐫𝐤 𝐝𝐮𝐫𝐢𝐧𝐠 𝐚 𝐭𝐢𝐦𝐞 𝐨𝐟 𝐜𝐫𝐢𝐬𝐢𝐬. 𝐈𝐭 𝐰𝐚𝐬 𝐚𝐥𝐬𝐨, 𝐡𝐨𝐰𝐞𝐯𝐞𝐫, 𝐞𝐧𝐯𝐢𝐬𝐚𝐠𝐞𝐝 𝐚𝐬 𝐨𝐟𝐟𝐞𝐫𝐢𝐧𝐠 𝐭𝐡𝐞 𝐦𝐚𝐤𝐞𝐫𝐬 𝐨𝐟 𝐭𝐡𝐞 𝐰𝐨𝐫𝐤𝐬 𝐚𝐧 𝐨𝐩𝐩𝐨𝐫𝐭𝐮𝐧𝐢𝐭𝐲 𝐭𝐨 𝐚𝐫𝐭𝐢𝐜𝐮𝐥𝐚𝐭𝐞 𝐭𝐡𝐞𝐢𝐫 𝐩𝐞𝐫𝐜𝐞𝐩𝐭𝐢𝐨𝐧𝐬 𝐚𝐛𝐨𝐮𝐭 𝐂𝐨𝐯𝐢𝐝-𝟏𝟗.

While Not Literal Reflections Of Practices And Activities In The Context Of The Pandemic, The Cloths Do Have An Important “Truth” Value. Some Adhere To A Longstanding Current Within Mapula Of Representing Social Ideals And Aspirations – That Is, Scenarios In Which Problems Are Remedied Rather Than Those Problems Themselves. But Others May Invoke A Sense Of An Unpredictable World Potentially Bringing About Calamitous Loss—Whether Doing So Through Metaphor (As In The Case Of Makwana’s Rendition Of Women Carrying Firewood) Or By Representing Scenarios Invoked In Speeches About The Need To “Flatten The Curve”. 

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/ @Mapula_Embroideries  @Ujartsgallery
𝐀𝐫𝐭𝐢𝐬𝐭𝐬: 𝐀𝐲𝐨𝐛𝐨𝐥𝐚 𝐊𝐞𝐤𝐞𝐫𝐞-𝐞𝐤𝐮𝐧 | 𝐅𝐫𝐚𝐧𝐤𝐥𝐲𝐧 𝐃𝐳𝐢𝐧𝐠𝐚𝐢 | 𝐕𝐚𝐧𝐞𝐬𝐬𝐚 𝐓𝐞𝐦𝐛𝐚𝐧𝐞
In This Three-Person Exhibition The Artists Assemble Fragments From The Past To Give Shape To Shattered Memories And Ideas Of What Might Have Been. By Exploring The Could-Be, The Artists Construct Their Own Forms Of Reality – Shaping The Memories They Want To Hold On To, Instead Of Relying On Things One Has No Control Over.
@Ayobola.k @Vanessa_Tembane @Franklopa2.0  Dini Vdw 
𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐊𝐨𝐤𝐞𝐝𝐚𝐦𝐚 𝐒𝐭𝐫𝐢𝐧𝐠𝐬
𝐀𝐫𝐭𝐢𝐬𝐭: 𝐌𝐚𝐫𝐜𝐢𝐚 𝐕𝐢𝐬𝐬𝐞𝐫

When Unravelling Is Understood As The Explanation Of Something Complicated, Or The Arranging Of Something That Appears Confused, Then The Simplicity Found In Nature Is A Good Example. The Golden Section – A Mathematical Relationship – Which Takes Shape In Nature, Is A Simple Ratio Which Indicates The Order That Exists In Natural Elements Such As Shells And Plants. 

Many Artists Such As Leonardo Da Vinci And Salvador Dalí Realised The Same Principles Can Be Applied To Art To Create Aesthetically Pleasing Designs. Kokedama, A Japanese Garden Art, Strongly Relates Hereto. “Koke” Translated From Japanese As “Moss”, And “Dama” As “Ball”, Refer To A Moss Ball As The Focal Point.
This Moss Ball Forms The Supporting Element For Additional Plants To Grow From And Are, For Example, Hung From A Ceiling In The Air. Kokedamas Are Therefore Living Air Planters That Keep Growing And Can Unravel From Their Initial Form. 

This Kokedama Moss Garden Or String Garden Was Given Shape By The Horticulturalist Marcia Visser.

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐄𝐫𝐯𝐚𝐚𝐫 𝐝𝐢𝐞 𝐫𝐲𝐤 𝐭𝐞𝐤𝐬𝐭𝐮𝐮𝐫 𝐞𝐧 𝐭𝐞𝐤𝐬𝐭𝐢𝐞𝐥𝐞 𝐯𝐚𝐧 𝐝𝐢𝐞 𝐯𝐢𝐬𝐮𝐞𝐥𝐞 𝐤𝐮𝐧𝐬𝐮𝐢𝐭𝐬𝐭𝐚𝐥𝐥𝐢𝐧𝐠𝐬 𝐯𝐚𝐧 𝐊𝐊𝐍𝐊𝟐𝟎𝟐𝟐 𝐨𝐧𝐝𝐞𝐫 𝐯𝐚𝐧𝐣𝐚𝐚𝐫 𝐬𝐞 𝐭𝐞𝐦𝐚, '𝐎𝐧𝐭𝐫𝐚𝐟𝐞𝐥', 𝐛𝐢𝐧𝐧𝐞 𝐨𝐧𝐬 𝐕𝐢𝐫𝐭𝐮𝐞𝐥𝐞 𝐆𝐚𝐥𝐞𝐫𝐲 𝐛𝐲 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐓𝐡𝐞 𝐓𝐰𝐨 𝐇𝐨𝐫𝐢𝐳𝐨𝐧𝐬
𝐓𝐡𝐢𝐬 𝐛𝐨𝐝𝐲 𝐨𝐟 𝐰𝐨𝐫𝐤 𝐜𝐨𝐧𝐬𝐢𝐬𝐭𝐬 𝐨𝐟 𝐚 𝐧𝐨𝐧𝐥𝐢𝐧𝐞𝐚𝐫 𝐝𝐢𝐚𝐥𝐨𝐠𝐮𝐞 𝐛𝐞𝐭𝐰𝐞𝐞𝐧 𝐖𝐚𝐲𝐧𝐞 𝐌𝐚𝐭𝐭𝐡𝐞𝐰𝐬 𝐚𝐧𝐝 𝐃𝐢𝐫𝐤 𝐁𝐚𝐡𝐦𝐚𝐧𝐧.

This Dialogue Attempts To Delve Into The (Un)Reality Of The Underlying Strata Of The Psyche. Here, Mythology And Concepts Of The Numinous Are Used As Devices To Gesture Towards An Ineffable. This Process Is Supported By The Agencies Of The Process Of Making, The Qualities Of The Auras Of Materials, And The Artefact. The Artefact Is Understood Not As A Product, But As A Continuous, Process-Driven Tool That Simultaneously Traces A Path Into, And Out Of, The Inner Realm.
@Dirkbahmann @Waynematthews23Skidoo

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐑𝐢𝐜𝐡 𝐢𝐧 𝐅𝐢𝐛𝐫𝐞
𝐂𝐮𝐫𝐚𝐭𝐞𝐝 𝐛𝐲 𝐃𝐢𝐧𝐞𝐤𝐞 𝐯𝐚𝐧 𝐝𝐞𝐫 𝐖𝐚𝐥𝐭

As Its Starting Point, Rich In Fibre Focuses On The Materiality Of Artworks. Fibre Is Often Understood As A Thin Thread, Strand, Or Filament From Which Plant Or Animal Tissue, Cloth Or Minerals Is Formed. For Food To Be “Rich In Fibre”, It Needs To Be Less Refined And Processed To Maintain Its Natural Fibre. As Such It Has A Certain Raw And Natural Quality To It. However, Foods High In Fibre Are Considered Difficult To Digest. 

The Unravelling Of Certain Preconceptions, Theories, Long-Held Beliefs And Assumptions Into Their Raw And Essential Form, Can Similarly Be Difficult To Stomach. But While Strenuous To Consume, Fibre-High Nourishment Helps Food Pass Through The Body. High Consistency Of Fibre Is Thus Beneficial Despite The Initial Challenges It May Pose To The Body Or Mental Faculties.

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
Dini Vdw @Bevan11 @Gunsandrain @Bevbutkow @Hannamacfarlane Dudubloom @African_Art_Stories @Bermancontemporary @Tawandatakura @Sizwe_Sama O Khune @O.khune  @Katelyn_Portfolio  @Mandy.johnston.art T @Mandy_C_Martin_ _  @Ginawaldmanstudios
𝐀𝐧 𝐎𝐫𝐜𝐡𝐞𝐬𝐭𝐫𝐚𝐭𝐞𝐝 𝐑𝐞𝐚𝐥𝐢𝐭𝐲
𝐀𝐫𝐭𝐢𝐬𝐭: 𝐍𝐤𝐡𝐞𝐧𝐬𝐚𝐧𝐢 𝐑𝐢𝐡𝐥𝐚𝐦𝐩𝐟𝐮, 𝐜𝐮𝐫𝐚𝐭𝐞𝐝 𝐛𝐲 𝐒𝐚𝐫𝐚𝐡 𝐌𝐜𝐆𝐞𝐞

Nkhensani Rihlampfu Introduces Us To His Universe Of Woven Realities, A Space Where Actuality Is Entwined With The Idealistic And Notional Ideas Birthed By Our Society. Nkhensani Aims To Expose The Manipulation Of Communication Through Gesture And Assumption. @Mstudiocommunity M Studio Community @Nkhensani7 

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐊𝐚𝐫𝐨𝐨 𝐊𝐚𝐚𝐫𝐭𝐞: 𝐏𝐫𝐞𝐬𝐭𝐢𝐤 &Amp; 𝐏𝐚𝐩𝐞𝐫
𝐂𝐮𝐫𝐚𝐭𝐞𝐝 𝐛𝐲 𝐕𝐚𝐮𝐠𝐡𝐧 𝐒𝐚𝐝𝐢𝐞

Collage Is A Central Process For Karoo Kaarte And Is Used As A Storytelling Tool Which Helps Participants Visualise Their Relationship To Oudtshoorn. The Base Set Of Images For The Karoo Kaarte Collage Workshops Were A Selection Of Photographs From The Cp Nel Museum Archive (Which Largely Represents The Town'S Colonial History), As Well As 25 Years’ Worth Of Post-1994 Kknk Theatre Festival Photography. Vaughn Sadie 

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐋𝐢𝐞𝐰𝐞 𝐋𝐚𝐧𝐝! 𝐈𝐈
𝐂𝐮𝐫𝐚𝐭𝐞𝐝 𝐛𝐲: 𝐃𝐢𝐧𝐞𝐤𝐞 𝐯𝐚𝐧 𝐝𝐞𝐫 𝐖𝐚𝐥𝐭

Early Depictions Of South African Landscapes Are Often Characterised By A Romantic Vision Of Pure Nature And Majestic Primal Forces Of Rock And Sky. In These Paintings The Landscape Often Appears Gracious And Peaceful. But Landscape Artworks From The Early 20Th Century Were Often Directly Related To Nationalism And A Colonial View In Which The Land Was Often Depicted As Empty (Read: “Without People”). The Land And The Landscape Were, In These Instances, Perceived As More Important Than People. As A Result, These Works Cannot Be Read As A Neutral Documentation Of The Landscape. Every Artist Chooses What To Include And Exclude. This Debate And Criticism Against Early Landscape Painters Does Not Mean Their Works And The Artists Are Without Worth. On The Contrary, It Forms An Important Part Of Art History. @Dini_Vdw

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/
𝐖𝐨𝐨𝐝 &Amp; 𝐖𝐚𝐭𝐞𝐫 (𝐌𝐲 𝐎𝐰𝐧 𝐏𝐫𝐢𝐯𝐚𝐭𝐞 𝐎𝐝𝐲𝐬𝐬𝐞𝐲)
𝐀𝐫𝐭𝐢𝐬𝐭: 𝐆𝐫𝐞𝐠𝐠 𝐏𝐫𝐢𝐜𝐞
This Body Of Works Started With The Hope Of Capturing The Mystery And Joy Of Swimming In The Kelp Forests Around Simon’s Town. I Imagined Returning From These Ventures With A Record Of What I Had Seen, A ‘Snapshot’ To Record My Story. @Gregg_Price 

𝐕𝐢𝐬𝐢𝐭 𝐭𝐡𝐞 𝐊𝐊𝐍𝐊 𝐕𝐢𝐫𝐭𝐮𝐚𝐥 𝐆𝐚𝐥𝐥𝐞𝐫𝐲 𝐚𝐭 Https://Kknk2022.Kknk.co.za/Virtuele-Galery/