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19 August 2020 | Story Rulanzen Martin | Photo Supplied

 

Art in itself is a journey of self-exploration; with a global pandemic raging, art lovers can now explore this journey virtually. The Johannes Stegmann Gallery at the University of the Free State (UFS) is happy to announce the (second) virtual exhibition of Leeto: a Sam Nhlengethwa Print Retrospective until 4 September 2020. 

 


Sam Nhlengethwa, Tribute to Lemmy 'Special' Mabaso, 2002, Seven colour lithograph, 76 x 106 cm, 
Artwork courtesy of the artist and the Goodman Gallery. 


The exhibition features a collection of Sam Nhlengethwa’s print work to be interrogated, his artistic evolution to be mapped out, and his personal aesthetics to be interpreted, while surveying this renowned artist’s print work from 1978 to 2018.  The underlying theme of the exhibition is jazz, an early influence in Nhlengethwa’s works from the underground jazz community of the townships. His brother was a jazz musician and he started collecting jazz records from the early age of 17.

Leeto is a Setswana/Sesotho word for ‘journey’ and, as the word suggests, the exhibition explores the ongoing artistic footsteps of the artist. The collection was curated by Boitumelo Tlhoaele, a doctoral fellow in the Africa Open Institute for Music, Research, and Innovation at Stellenbosch University.

 Dedicated to Victor Ndlazilwana, 1994, Colour lithograph, 40 x 60 cm

 
Dedicated to Victor Ndlazilwana, 1994, Colour lithograph, 40 x 60 cm
Artwork courtesy of the artist and the Goodman Gallery.




About the artist: 

Nhlengethwa began his career in 1976 during one of South Africa’s most tumultuous socio-political eras. In 1978, he completed a two-year diploma at the Evangelical Lutheran Church Art and Craft Centre, Rorke’s Drift, KwaZulu-Natal, where printmaking was a prominent feature of the centre’s activities. Nhlengethwa’s work spans a variety of mediums, from painting, drawing to collage, and some of his works have been translated into tapestries. One of his big cityscape works was translated into a mosaic. In addition to all the afore-mentioned mediums, Nhlengethwa also produced an impressive and sizeable body of printmaking works. 

He has collaborated with several South African printmaking studios, such as The Artists’ Press, Artist Proof Studio, David Krut Print Workshop, LL Editions Fine Art Lithography Studio, MK and Artist Print Workshop, Mo Editions Printmaking Studio, and Sguzu Printmaker’s Workshop. Since 1994, he has produced 163 prints in collaboration with The Artists’ Press, making it his longest and most productive affiliation. 


 

News Archive

Prof Helene Strauss delves into the emotion and politics of contemporary South African protest cultures
2014-12-22

Prof Helene Strauss from the University of the Free State’s (UFS) Department of English currently researches the relationship between emotion and politics in contemporary South African public and protest cultures.

The research foregrounds the complex set of concerns opened up by a study of intimacy, read as not simply a sign for emotional and sexual closeness, but more broadly as a complexly mediated site from which to observe the embodied, affective coordinates of various forms of control and contestation. Through the analysis of a range of cultural texts that, for instance, recompose moments of spectacular social upheaval through the lenses of everyday, embodied experience, this research considers what aesthetic responsibility might mean in both post-transitional South Africa and elsewhere.

One aspect of this research charts a gradual shift in South Africa from what is frequently referred to as the ‘liberation euphoria’ of the mid- to late 1990s – and the optimistic fantasies of a future South Africa that characterised dominant public discourse in the period immediately following the political transition – toward an emotional culture in which expressions of anger, disillusionment and disappointment seem to have become relatively widespread.

Prof Strauss asks, for instance, how these public feelings have been managed in the aftermath of events such as the Marikana massacre, and suggests that the affective and temporal dimensions of current attempts at containing perceived threats to financial and political stability on the part of South Africa’s business and political elite are key to understanding increasingly violent and repressive securitisation strategies.

Earlier this year, Prof Strauss presented papers on aspects of this research at two international conferences: (i) the Association for Cultural Studies conference in Tampere, Finland, where she was invited to be part of a ‘Spotlight Panel’ on the topic of African Cultural Studies, (ii) and at a conference at McMaster University in Hamilton, Canada, which she helped to co-organise.

An article based on some of this work has been published in the journal Safundi.

For more of Prof Strauss’s research published in journals, follow the links below:
http://www.tandfonline.com/toc/rsaf20/current#.VAf88_mSxqU
http://www.tandfonline.com/toc/riij20/15/1#.VAf80vmSxqU
http://www.palgrave-journals.com/sub/journal/v4/n2/index.html

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