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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

Prof Antjie Krog speaks on verbalising revulsion and the collusion of men

2015-06-26

From the left are Prof Lucius Botes, UFS: Dean of the Faculty of the Humanities; Prof Helene Strauss, UFS: Department of English; Prof Pumla Gobodo-Madikizela, UFS: Trauma, Forgiveness and Reconciliation Studies; Prof Antjie Krog, UCT: Department Afrikaans and Dutch; Dr Buhle Zuma, UCT: Department of Psychology. Both Prof Strauss and Dr Zuma are partners in the Mellon Foundation research project.

“This is one of the bitterest moments I have ever endured. I would rather see my daughter carried away as a corpse than see her raped like this.”

This is one of 32 testimonies that were locked away quietly in 1902. These documents, part of the NC Havenga collection, contain the testimonies of Afrikaner women describing their experiences of sexual assault and rape at the hands of British soldiers during the South African War.

This cluster of affidavits formed the foundation of a public lecture that Prof Antjie Krog delivered at the University of the Free State’s (UFS) Bloemfontein Campus on Tuesday 23 June 2015. The lecture, entitled ‘They Couldn’t Achieve their Goal with Me: Narrating Rape during the South African War’, was the third instalment in the Vice-Chancellor’s Lecture Series on Trauma, Memory, and Representations of the Past. The series is hosted by Prof Pumla Gobodo-Madikizela, Senior Research Professor in Trauma, Forgiveness, and Reconciliation Studies at the UFS, as part of a five-year research project funded by the Andrew W. Mellon Foundation.

Verbalising revulsion

The testimonies were taken down during the last two months of the war, and “some of the women still had marks and bruises on their bodies as evidence,” Prof Krog said. The victims’ words, on the other hand, struggled to express the story their bodies told.

What are the nouns for that which one sees? What words are permissible in front of men? How does one process revulsion verbally? These are the barriers the victims – raised with Victorian reserve – faced while trying to express their trauma, Prof Krog explained.

The collusion of men

When the war ended, there was a massive drive to reconcile the Boers and the British. “Within this process of letting bygones be bygones,” Prof Krog said, “affidavits of severe violations by white men had no place. Through the collusion of men, prioritising reconciliation between two white male hierarchies, these affidavits were shelved, and, finally, had to suffer an embargo.”

“It is only when South Africa accepted a constitution based on equality and safety from violence,” Prof Krog said, “that the various levels of deeply-rooted brutality, violence, and devastation of men against the vulnerable in society seemed to burst like an evil boil into the open, leaving South African aghast in its toxic suppurations. As if, for many decades, we did not know it was there and multiplied.”

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