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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

Clarification of charges against the Reitz students
2009-10-24

Statement by Prof. Jonathan Jansen, Rector and Vice-Chancellor of the University of the Free State (UFS)

The University of the Free State (UFS) has not “withdrawn charges” against the four Reitz students. This needs to be clarified.

There are three processes underway, and they must not be confused:

  1. 1. The criminal charges against the students were laid by the Directorate of Special Prosecutions in the province, and the university has no say over those processes in the criminal courts. That process remains in place.

  2. The human rights charges are led by the Human Rights Commission, in the province, and the university has no say over those processes in the equality court. That process remains in place.

  3. The university simply withdrew its own complaint against the students, insofar as university processes are concerned, and on that basis decided to invite the students back to continue their studies and to re-open Reitz as a model of social justice and racial reconciliation as an exemplary university residence. These decisions alone fall within the realm of the university’s authority.

The decision with respect to the withdrawal of the university’s complaint against the students was based on two considerations:

a. the institution’s own accountability for what happened, and creating (or not interrupting) the conditions under which racism and racist attacks were even possible on the campus of an institution of higher learning. It is in this context that the institution has decided to offer reparations for harm to the dignity and esteem of the five workers.

b. the institution’s desire to create the conditions for racial reconciliation on a deeply divided campus, and in doing so to accelerate the chances of transformation at the UFS.

There were broad consultations with the Human Rights Commission, Cosatu provincial, Sasco, Nehawu as representatives of the workers; there were also discussions with the leadership of the Student Representative Council (SRC) about the need to resolve the Reitz issue outside of the courts; and the matter of Reitz and its resolution through negotiation was also raised with the Minister of Higher Education and Training. There were also meetings with the legal representatives of both the students and the provincial prosecuting authority.

There was a meeting with the workers to ensure them of the university’s full support for them as workers, but the case itself was only discussed with their representatives, Nehawu.

Sasco National has communicated a message of support to the university to return the two students and to re-open the Reitz residence.

 

Issued by: Lacea Loader
Deputy Director: Media Liaison
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl.stg@ufs.ac.za  
19 October 2009

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