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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.
 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)


News Archive

South Africa praised for dealing with its history
2012-07-12

“I listened to an incredible conversation on how South Africans can talk about the past. We failed to do that in the US. We cannot move on because we failed to name the ghosts in our past. I am honouring what South Africa is doing.”

These are the words of a staff delegate from a university in the USA in a case study at the Global Leadership Summit led by Prof. André Keet, Director of the International Institute for Studies in Race, Reconciliation and Social Justice at the University of the Free State (UFS).

Students and academics from universities in the USA, Belgium, the Netherlands and Japan are attending a Global Leadership Summit with the theme “Transcending Boundaries in Global Change Leadership” at the UFS.

In the case study, symbols on the Bloemfontein Campus such as the MT Steyn Statue, Justitia symbol of justice at the building of the Faculty of Law, the artwork Van hier tot daar, and the Women’s Memorial were presented to the audience and the question was asked if they had to be removed or if they had to remain.

Students overwhelmingly felt that symbols of the past had to remain. Here are some of the comments:

  • “Without our past we would not be here today. Without the past, we would not know why we are here or where we are going.”
  • “It is important for students that it remains on campus, as a reminder that history must not repeat itself.”
  • “There is room for new symbols. We must look back but must also look at the future.”
  • “We must resolve the problems of the past and move on.”
  • “We must remember that we cannot go back there again. We must not take away part of other people’s history.”
  • “Symbols must be contextualised.”
  •  “Don’t look in the rear mirror, but through the windscreen where you are going. The windscreen is far bigger.”

One student said the statute of MT Steyn filled him with anger.

Prof. Keet said the act of running away from the ghosts of the past was a way to keep those ghosts alive. The past cannot be dealt with, only visited. The ghosts connect people with the past and allow the past to be present in the now.
 

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