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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. 

News Archive

Research into veld fires in grassland can now help with scientifically-grounded evidence
2015-04-10

While cattle and game farmers are rejoicing in the recent rains which large areas of the country received in the past growing season, an expert from the University of the Free State’s Department of Animal, Wildlife, and Grassland Sciences, says that much of the highly inflammable material now available could lead to large-scale veld fires this coming winter.

Prof Hennie Snyman, professor and  researcher in the Department of Animal, Wildlife, and Grassland Sciences, warns that cattle and game farmers should be aware, in good time, of this problem which is about to rear its head. He proposes that farmers must burn firebreaks as a precaution.

At present, Prof Snyman focuses his research on the impact of fire and burning on the functioning of the grassland ecosystem, especially in the drier grassland regions.

He says the impact of fire on the functioning of ecosystems in the ‘sour’ grassland areas of Southern Africa (which includes Kwazulu-Natal, Limpopo, Mpumalanga, the Eastern Cape, and the Harrismith environs) is already well established, but less information  is available for ‘sweet’ semi-arid grassland areas. According to Prof Snyman, there is no reason to burn grassland in this semi-arid area. Grazing by animals can be effectively used because of the high quality material without having to burn it off. In the sourer pasturage, fire may well form part of the functioning of the grassland ecosystem in view of the fact that a quality problem might develop after which the grass must rejuvenate by letting it burn.

Prof Snyman, who has already been busy with the research for ten years, says quantified data on the impact of fire on the soil and plants were not available previously for the semi-arid grassland areas. Fires start frequently because of lightning, carelessness, freak accidents, or damaged power lines, and farmers must be recompensed for this damage.

The shortage of proper research on the impact of fires on soil and plants has led to burnt areas not being withdrawn from grazing for long enough. The lack of information has also led to farmers, who have lost grazing to fires, not being compensated fairly or even being over-compensated.

“When above-and below-ground plant production, together with efficient water usage, is taken into account, burnt grassland requires at least two full growing seasons to recover completely.”       

Prof Snyman says farmers frequently make the mistake of allowing animals to graze on burnt grassland as soon as it begins to sprout, causing considerable damage to the plants.

“Plant roots are more sensitive to fire than the above-ground plant material. This is the reason why seasonal above-ground production losses from fire in the first growing season after the fire can amount to half of the unburnt veld. The ecosystem must first recover completely in order to be productive and sustainable again for the long term. The faster burnt veld is grazed again, the longer the ecosystem takes to recover completely, lengthening the problem with fodder shortages further.  

Prof Snyman feels that fire as a management tool in semi-arid grassland is questionable if there is no specific purpose for it, as it can increase ecological and financial risk management in the short term.

Prof Snyman says more research is needed to quantify the impact of runaway fires on both grassland plant productivity and soil properties in terms of different seasonal climatic variations.

“The current information may already serve as valuable guidelines regarding claims arising from unforeseen fires, which often amount to thousands of rand, and are sometimes based on unscientific evidence.”

Prof Snyman’s research findings have been used successfully as guidelines for compensation aspects in several court cases.

 

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