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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

ANC Centenary Dialogue reflects on past leadership
2011-10-12

 

Making their mark at the ANC Centenary Dialogue were, from left to right: Prof. Kwandiwe Kondlo, Senior Professor: Centre for Africa Studies (UFS); Dr Adekeye Adebajo, Director: Centre for Conflict Resolution (Cape Town); and Prof.  E C Ejiogu, Senior Researcher: Centre for Africa Studies (UFS). 

The Centre for Africa Studies at our university recently hosted its ANC Centenary Dialogue at the Bloemfontein Campus. Keynote speaker, Dr Adekeye Adebajo, delivered a paper titled Nelson Mandela, Thabo Mbeki, and the ANC’s Footprint in Africa. The lecture focused on two of South Africa’s democratically-elected presidents.

Mr Nelson Mandela was South Africa’s first democratically-elected president. This Nobel Peace Laureate played a prophetic leadership role in Africa in 1993. He was inspired by Mr Mahatma Gandhi’s tactics of ‘passive resistance’, which played a role in the ANC’s Defiance Campaign.
 
Mr Mandela’s visit to other African countries gave him insights into continental diplomacy and the tactics of other liberation movements. “The ANC used Madiba to embody the face of the struggle. He emerged from prison without any bitterness towards his enemies. He tirelessly promoted national reconciliation,” said Dr Adebajo.
 
Unlike other post-independence ‘Founding Fathers’, Mr Mandela bowed out gracefully at the end of his first presidential term in 1999, setting a standard for future African leaders aspiring to greatness. “Mr Mandela’s lasting legacies are his efforts at promoting national and international peacemaking,” elaborated Dr Adebajo.
 
Mr Thabo Mbeki challenged Africans to discover a sense of their own self-confidence after centuries of slavery and colonialism. Under his foreign policy, South Africa established solid credentials to become Africa’s leading power. He sought multilateral solutions to resolve regional conflicts. Mr Mbeki also sent peacekeepers abroad and increased South Africa’s credibility as a major geostrategic player in Africa.
 
Many question whether Mr Mbeki’s heirs, President Jacob Zuma and beyond, will maintain the same level of commitment to the continent that he demonstrated. Mr Mbeki has bequeathed this foreign policy legacy to his successors. “These very different ANC leaders have left a heavy African footprint on the sands of time,” concluded Dr Adebajo.

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