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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

“I, too, am an African,” says visiting US drama professor

2013-03-06

Africans are of blood and of soil, says Prof Charles Dumas in his inaugural lecture at the UFS. Speaking on the topic I, too, am an African, Prof Dumas reminisced about his life and experiences on the continent.
Photo: Minette Grove
05 March 2013

Lecture (pdf)

What is an African? Is it those born in Africa, defined in racial and genealogical terms, or those who identifies with the continent in nationality and ancestral location? Did the descendants of enslaved Africans in the US, the Caribbean or Brazil lose their Africaness when their ancestors were put on slave ships to the New World?

These were some of the questions raised by Prof Charles Dumas, visiting senior professor in the Department Drama and Theatre Arts, in his inaugural lecture at the university.

Proclaiming attachment to the continent, Prof Dumas told his audience there are two types of Africans: Africans of the blood and Africans of the soil. In a speech titled, “I, too, am an African,” he stated that he lay claim to his ancestral birthright not because of blood relationship to an identifiable ethnic group or birthright to the continent, but because he earned it.

“I suggest another way that one can be an African, is through trial and struggle to be reborn an African in spirit. It is a ritual journey that may be taken by anyone. For, after all, if we are to believe the anthropologists who tell us that human life as we know it began in the Olduvai Gorge, genetically we are all African in origin.”

Prof Dumas, a senior professor at Penn State University in the USA, took the audience on a journey of his experiences on the continent, starting in 1978 when he first came to South Africa as a legal observer. Noticing the changes between Apartheid and today’s South Africa, he said this generation are committed to learn from each other – and that is the most important, he said.

“With their hopes and aspirations they earnestly desire to live in the new South Africa that we promised them. We must support them in their effort. It is time we stored our old baggage in the closet.”

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