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UFS permanent art collection on par with best in the country

23 September 2019 | Story Rulanzen Martin | Photo Rulanzen Martin

Opening exhibition — Some of the artworks from the UFS permanent collection was on exhibition at the Johannes Stegmann Gallery.

When you visit the permanent art collection housed at the art gallery at the Centenary Complex of the University of the Free State (UFS) you will learn something new about South African culture. The 1 200 piece collection is the UFS’s effort to preserve our cultural and historical legacy with poignant works from artist such as Jackson Hlungwane, JH Pierneef, Lucas Sithole, Irma Stern and Azaria Mbatha.

The permanent collection boasts the most diverse collection of contemporary artworks in a public space at a South African university. The artworks are often loaned to significant national and international exhibitions, creating an opportunity for research, teaching and promotion of the UFS.

The collection has been acquired by the UFS over the past 80 years and comprises paintings, sculptural works, murals, prints, photographic and ceramic works. It includes works of art pioneers from the region and other parts of the country. “The collection hosts one of the most substantial representations of art which was created in the Free State region with works by Frans Claerhout, Pauline Gutter, George Ramagage and Motseokae Klas Thibeletsa,’’ said Angela de Jesus, UFS art curator. It also houses The Human Rights Print Portfolio’ (1996), one of South African’s most significant post-apartheid print portfolios.

Angela de Jesus, UFS art curator and Prof Suzanne Human, chairperson of the UFS Arts Advisory Committee.
(Photo: Rulanzen Martin)

Recent exhibition showcases works of sensible agendas

Some of the artworks, acquired from 2009-2019, are also currently on exhibition at the Johannes Stegmann gallery. At the opening of the exhibition on 28 August, Prof Suzanne Human, chairperson of the UFS Arts Advisory Committee said the “exhibition does not show all the works but the cohesion between the artworks reveals there is a sensible agenda and sound acquisition criteria.”

The exhibition interrogates the complexities of the reality of a free South Africa. “The UFS collection is a university collection and the works acquired are therefore of scholarly interest. Each work in the exhibition is topical in research circles,” said Prof Human. I have not, I have by Mary Sibande

The exhibition at UFS was open until 4 October 2019

Collection preserving cultural and historic identity

Contemporary artworks which deal with relevant sociopolitical and environmental issues include works by Kim Berman, Thembinkosi Goniwe, Sam Nhlengethwa, Pippa Skotnes and Diane Victor.
According to De Jesus the collection “provides an irreplaceable educational reserve for understanding our unique cultural and historical identity.”

“The UFS art collection promotes the importance of visual art for research, teaching, and as a vehicle for critical dialogue. Its aim is to encourage critical thinking and to be reflective of the social, cultural and political diversity of the Free State and South Africa,” she said.

Significant art projects expanded collection’s footprint

Over the years several projects were initiated to enrich the art collection to address gaps in and around the collection to encourage social justice and critical dialogue. As part of the Lotto Sculpture-on-Campus Project (2009-2012) the UFS commissioned 16 public artworks for the Bloemfontein Campus. “Through this project the UFS established the most diverse collection of contemporary artworks in a public space at a South African university, with exceptional works by Willem Boshoff, Noria
Mabasa, Willie Bester, Kagiso Patrick Mautloa, Brett Murray and others.” said de Jesus.

(Picured on the right: I Have Not, I Have by Mary Sibande)

Angela de Jesus, at the Opening exhibition

Lawrence Lemaoana, Real Freedom is not given, Khanga textile and cotton embroidery, 155xx115 cm, 2017-2

News Archive

#Women’sMonth: Who am I? Questions of identity among Rwandan rape survivors

2017-08-03

Michelle Nöthling, master’s degree student
in the Centre for Trauma, Forgiveness, and
Reconciliation Studies at the UFS.
Photo: Eugene Seegers

From 7 April to 15 July 1994, a mass genocide swept through Rwanda after years of Belgian colonial rule that divided the country along ethnic lines. Rape was also used as part of a political strategy to torture and humiliate mainly Tutsi women, and as a means of spreading HIV.

Individual focus
Why is it important to listen to what these rape survivors have to say? Michelle Nöthling, a master’s student in the UFS Centre for Trauma, Forgiveness, and Reconciliation Studies, responds, “We speak of groups – refugees, foreigners, and the like – yet we tend to forget the individuals and the lasting impact trauma has had on each person.”

Narrative exploration
Michelle maintains that we are the product of the narratives around us; things like – how to be a woman, how to dress, speak, or treat others. Her research delves into how these rape survivors see themselves, how they narrate their lives. She also investigates power relations based on gender; for example, how language can be used as a divisive tool.

Rwandan backdrop
In Rwanda, gender roles are deeply entrenched. Traditionally, a ‘girl’ remains such while she is a virgin. Her transition into womanhood is usually marked by marriage and followed by motherhood. But rape disrupts this structure, leading to an identity crisis as these girls are catapulted into motherhood with an unplanned child resulting from a traumatic event.

“We are the product of
the narratives around us.”

Reaching their mid-teens, the children, too, started asking questions about identity or paternity. For those mothers who were finally able to open up to their children, the experience has been mostly liberating – often leading to a closer relationship between parent and child. Michelle intends to interrogate how such significant moments shape the way these women perceive themselves. Research tends to portray these survivors solely as mothers of rape-born children. Michelle, however, seeks to examine their identities more deeply.

“These survivors still bear the heavy burden of being marginalised, stigmatised, and severely humiliated. Despite this, they have developed their own communities of belonging; people with whom they connect, to whom they relate, and to whom they are not ashamed to tell their experiences,” she said.

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