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Curated pieces from UFS Art Collection on virtual display

19 January 2021 | Story Rulanzen Martin | Photo UFS Art Collection

3. Lucas Sithole_web read more — Lucas Sithole, I won’t stop crying (detail), 1987, Iron wood, 70 x 58 x 33cm.

Click here to view the online exhibition

Recent times have brought much uncertainty but one aspect of our modern life which remains a constant is our art. For the past 80 years the art collection at the University of the Free State (UFS) has been a significant aspect for research, teaching and cultural heritage. The current online exhibition called Something Contemporary is testament to that endurance and is open until the end of January 2021.

The exhibition is curated by Angela de Jesus, Assistant Director of the Johannes Stegmann Gallery at the UFS, and artist Teboho Mokhothu, and includes prominent artworks by renowned South African artists. “Noteworthy are the artworks Terra Incognita (1990) by Penny Siopis and I won’t stop crying (1987) by Lucas Sithole,” says De Jesus. The curated exhibition features a selection of contemporary artworks from the UFS art collection. “The artworks on exhibition are works that were created after the mid-1970s,” says De Jesus.

Making art collection more accessible

This virtual exhibition and online tour of the Centenary Art Gallery on the Bloemfontein Campus was put together due to the current restrictions imposed by COVID-19. It also utilises the digital platform for audiences across all the campuses to engage with the collection. “In line with the transformation objectives of the Integrated Transformation Plan (ITP), several projects are currently underway to display artworks in various UFS buildings,” says De Jesus.

UFS art collection of great significance

The UFS art collection boasts more than 1 200 art pieces and is a valuable source for research, scholarship, exhibition and education. “The art collection also greatly enhances the cultural life and aesthetic niveau (level) of the UFS and the surrounding region. Cultural collections are an integral part of the societies in which they exist and serve as foundations for collective memory, learning, debate, research and critical thinking.” says De Jesus.

The gallery also had re-imagined several of its 2020 projects into the digital space. “New exciting projects were also initiated which responded to the pandemic and feelings of isolation, uncertainty, gender-based violence and the digital overload,” says De Jesus. Some of these projects are part of the Programme for Innovation in Artform Development (PIAD), which was sponsored by the Andrew W Mellon Foundation.

View some of the projects here:

Stories in die Wind a short film animation web series about a young girl finding her purpose, based on the Nama story |!hûni //gāres |(The Rain Flower) Die reën blom: /Nanub !Khas.

WATCH THE ANIMATED SERIES HERE: https://www.storiesindiewind.co.za/

Digi-Cleanse a satirical artwork disguised as e-commerce website that mimics and critiques the contemporary wellness industry and its reliance on marketing and advertising.

SEE DIGI-CLEANSE HERE: https://digicleanse.co.za/

My Internal Oppression a musical theatrical performance of emotional content dedicated to women who have toiled with internal oppression as a result of the psychological and emotional trauma of gender-based violence caused by intimate partners.

SEE PERFORMANCE HERE: https://vimeo.com/468883494/376f3573d4

Sonic Re-Dress a collaborative meeting point between music, visual art, science and art therapy, the project specifically acknowledges the insecurity, fragility and discord within our current global pandemic context, by working with ‘universal’ human emotions.

SEE PROJECT HERE: https://www.sonic-redress.com/

Imaginary Futures an experimental project of live and participatory experiences with over more than 40 creative practitioners, consisting of sound and film mixing, drawing, animation, puppetry and performance.

SEE PROJECT HERE: https://imaginaryfutures.org/

Penny Siopis, Terra Incognita, 1990, Oil and collage on board, 175 x 165cm. UFS Art Collection.

4. Mohau Modisakeng, Lefa I, 2016, Ink-jet print on Epson Ultrasmooth, 200 x 150cm. UFS Art Gallery, Image courtesy of WHATIFTHEWORLD Gallery.

Richard Letsatsi Bolleurs, Shattered Innocence, 2009, Oil on canvas, 140 x 110cm. UFS Art Collection.

3. Lucas Sithole, I won’t stop crying (detail), 1987, Iron wood, 70 x 58 x 33cm. UFS Art Collection.

News Archive

UFS hosts sign language workshop to educate parents

2017-05-22

Back row; from left; John Keitsemore from
Bartimea School for the Deaf; Philip Cook,
the headmaster at De la Bat School for the
Deaf in Worcester; Jeannie Cook, De la Bat School
for the Deaf; front, from left; Marisa Vermeulen, mother
of two deaf children and teacher at Bartimea
School for the Deaf in Thaba Nchu; Marianne Kühn,
audiologist, and Susan Lombaard, acting Head of the
Department of South African Sign Language.
Photo: Rulanzen Martin

“Ninety percent of deaf children are born into hearing families. When parents first receive the news, they are shocked, angry and confused,” says Susan Lombaard, Acting head of the Department of South African Sign Language at the University of the Free State (UFS).

The department hosted a workshop, “Early intervention options for the child with a hearing loss”, on Friday 12 May 2017 on the Bloemfontein Campus. “It is the first time a sign language workshop of this kind was hosted by the Department of South African Sign Language at the UFS,” says Lombaard, who facilitated the workshop. They hope to make it an annual event.

Parents of deaf children do not always know how they will communicate with their children or where the child must attend school. The workshop aimed to provide parents with the necessary information on different communication options and also touched on school placement.

Support group for parents established
A support group for parents was also established, the first of its kind in the province. It will provide much-needed support, information and guidance for parents of deaf children.

Some of the speakers at the workshop included Anri Esterhuizen, an audiologist; Marianne Kühn from the Carel du Toit Centre, Marisa Vermeulen, who is a mother of two deaf children, and Phillip Cook, the headmaster at De la Bat School for the Deaf in Worcester, in the Western Cape. Jeannie Cook, also a presenter, provided information on sign language acquisition of the small deaf child, which is done through creative play.

Professionals have responsibility
South African Sign Language is a language in its own right and is not international. “Sign language is a visual language with its own grammar and syntax different from spoken language,” Lombaard said.

There has been much controversy surrounding teaching deaf children to speak and teaching them to sign. “We as professionals have the responsibility to provide information on all options. This is to help the parent make informed decisions about communication and school placement.”

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