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

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.

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. 

Penny Siopis, Terra Incognita, 1990, Oil and collage on board, 175 x 165cm. UFS Art Collection.
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.
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.
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.
3. Lucas Sithole, I won’t stop crying (detail), 1987, Iron wood, 70 x 58 x 33cm. UFS Art Collection.

News Archive

UFS launches journal on name change
2008-11-14

 

At the launch of the journal on name change were, from the left: Prof. Johan Lubbe, research associate of the Unit for Language Management at the UFS and guest editor of the magazine, Dr Lucie Möller, expert on geographical names and place name expert - and also an occasional member of the United Nations' committee of experts, Dr Peter Raper, research associate of the Unit for Language Management at the UFS, and Prof. Theo du Plessis, Director of the Unit for Language Management at the UFS. The magazine is dedicated to Dr Möller.
Photo: Lacea Loader

UFS launches journal on name change

From all the language issues coved in the English and Afrikaans printed media, the name change of place names is receiving the most attention. This is according to Prof. Johan Lubbe, research associate from the University of the Free State’s (UFS) Unit for Language Management, during the recent launch of a journal on name change on the Main Campus in Bloemfontein.

In the journal it is found, among other, that, as a result of the nature of the new democratic foundation of the ANC controlled government which puts the interests of the majority first, there is a move in the thinking and execution of name change. In this way not only names change but art, culture and heritage matters are democratically thought through and planned.

“As a directive from the South African Language Board (Pansalb), the Unit for Language Management at the UFS annually compiles the SA Language Monitor which reports on the language rights situation in South Africa as mainly reported by the print media. Issues about name change appeared throughout and this is why the unit decided to publish a journal with various perspectives on this,” said Prof. Lubbe, who is also the guest editor of the journal.

Other topics discussed in the journal include, among others, language visibility, a historical overview of the change in place names, the Khoisan influence on naming and naming amongst Xhosa speakers.

In a contribution on language visibility it is found that geographical naming policy and the national language policy does not correlate and language visibility as language mechanism is not considered. In a historical overview on the change of place names it is found that name change was never a calculated, political process and only after 2000 mention was made of a conscious, orchestrated process of name change.

In a further contribution on the name change of Johannesburg International airport, it was found that the government, by ignoring the sentiments of the minority, made itself guilty of splitting the nation in spite of pronunciations that nation building is a priority. Where African languages are concerned, it was found that the English name is increasingly being discarded in favour of the Xhosa name. This is apparently connected to the language debate in South Africa.

The journal, “Kritiese perspektiewe op naamsverandering” (“Critical perspectives on name change”) is a supplement to the “Acta Academica”, an accredited national journal that is independently publishing selected research articles in the human sciences and interdissiplinary fields. Nine cooperators from across the country made contributions to the journal.

Media Release
Issued by: Lacea Loader
Assistant Director: Media Liaison
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl.stg@ufs.ac.za  
14 November 2008
 

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