A lot of hashtags about art on Pukkelpop, but we suspect that the public is still more capable than the festival think.
We sit at the video wall of Pukkelpop to wait on Stainboy by Tim Burton, but before we stripfiguurtje get to see, there are long animations of distorted and with videopaint edited mensenlijven …
We sit at the video wall of Pukkelpop to wait on Stainboy by Tim Burton, but before we stripfiguurtje get to see, there are long animations of distorted and with videopaint edited mensenlijven to see. That in the course of the day at the entrance of the Petit Bazar 3D scanned and then animation processed.
We want ourselves to be scanned, but the queue is too long and noisy. Moments later the sink we saved away in one of the car seats of the small cinema Art Tube, where art documentaries of five minutes are shown, for a speeddate with Neo Rauch, and Pipilotti Rist. A pity that the geluidsclash of the nearby tents here are heftigst.
Pukkelpop has been a long-time tradition of art on the site, mostly in the form of goofy performers (and their steampunkachtige vehicles) on the meadow and in Petit Bazar. This year was also some fuss the art project #PKP18ART announced. De Brakke grond, Fomu, MUSEUM, Muhka, Momu, Museum M, Munch and the Dutch organisation for Art Tube bring art to the meadow.
The tone of the announcement was so patronizing that we are the worst feared. #PKP18ART was young once more, ‘discover art’ – as if there were no art can stand on the stage and young people, by definition, kunstonwetend. In practice, the emphasis remains on performances and interactivity. And the patronizing is to look far as Studio Brussel-dj Stijn Van de Voorde and football player Imke Courtois in the Think Thank of their love for the artists Piero Manzoni and Wassily Kandinsky are trying to convey to a blindfolded audience.
Next year a step further
The practice shows that the target audience of festivals and expo’s were a part overlaps. Otherwise the exhibition of Tim Burton in C-Mine had not started at the same time as Pukkelpop, and would look on the video wall is nothing of Burton. Otherwise there would be no expo by Stijn de Pourcq begin at a stone’s throw of the W-Festival, of which the gothic segment of the audience with the angels and skeletjes of The Pourcq will certainly know to plums.
Maybe Pukkelpop one step further by car: in place of purely to entertain, or tentative experiments to reach, it is the effort to sound out what the visitors on the meadow expect of art: away from the music? Or that depth? Or to be challenged?