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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

Symbolism and naming in spotlight at NSSA conference
2016-10-06

Description: NSSA LN Read More Tags: NSSA LN Read More

From the left, front: Prof Nhlanhla Mathonsi,
President of the NSSA, and Prof Thenjiwe Meyiwa,
Registrar at DUT.
Left, back (from the UFS): Prof Peter Raper,
Research Fellow at the ULFE and executive
member of the scientific council and paper
selection committee, Prof Theodorus du Plessis,
Director of the Unit for Language Facilitation
and Empowerment, and JC van der Merwe,
acting Director of the Institute for
Reconciliation and Social Justice.
Photo: Supplied

The 19th Names Society of Southern Africa (NSSA) International Conference saw delegates from around the world make their way to the University of the Free State (UFS) Bloemfontein Campus to study names as well as naming systems.

The conference took place from 20 to 22 September and was organised by the Unit for Language Facilitation and Empowerment (ULFE) at the UFS, alongside the NSSA. Delegates from South Africa, Lesotho, Zimbabwe, Zambia, Germany, and Taiwan attended.

The NSSA is a society dedicated to the study of names, naming, and naming systems. Members of the society come from a variety of disciplines, but all share an interest in names and their meaning.

Symbolism and naming in public sphere

The topic of this year’s conference was Symbolism and Instrumentality in Naming with categories of research which included anthroponyms, geographical names, names in history, literary onomastics, brand names, and politics of naming in a public sphere.

Issue of gender in naming systems

Keynote speakers included Prof Thenjiwe Meyiwa, Registrar at the Durban University of Technology (DUT), and Prof Peter Raper, Professor Extraordinaire at the UFS, Research Fellow at the ULFE, and executive member of the scientific council and paper selection committee.

In her address entitled, Naming is to gender as gender is to naming: Emerging Onomastics Scholarship, Prof Meyiwa noted that analysing names using gender enquiry is a potentially useful tool for identifying various communities’ values, belief systems, and perceptions as it relates to sexes.

“The talk called for the development of what I refer to as ‘feminist onomastics theory and research practice,’ which should primarily seek to bring about change and/or reimagine onomastics research."

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