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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

Expert in Africa Studies debunks African middle class myth
2016-05-10

Description: Prof Henning Melber Tags: Prof Henning Melber

From left: Prof Heidi Hudson, Director of the Centre for Africa Studies (CAS), Joe Besigye from the Institute of Reconciliation and Social Justice, and Prof Henning Melber, Extraordinary Professor at the CAS and guest lecturer for the day.
Photo: Valentino Ndaba

Until recently, think tanks from North America, the African Development Bank, United Nations Development Plan, and global economists have defined the African middle class based purely on monetary arithmetic. One of the claims made in the past is that anyone with a consumption power of $2 per day constitutes the middle class. Following this, if poverty is defined as monetary income below $1.5 a day, it means that it takes just half a dollar to reach the threshold considered as African middle class.

Prof Henning Melber highlighted the disparities in the notion of a growing African middle class in a guest lecture titled A critical anatomy of the African middle class(es), hosted by our Centre for Africa Studies (CAS) at the University of the Free State on 4 May 2016. He is an Extraordinary Professor at the Centre, as well as Senior Adviser and Director Emeritus of the Dag Hammarskjöld Foundation in Sweden.

Prof Melber argued that it is misleading to consider only income when identifying the middle class. In his opinion, such views were advanced by promoters of the global neo-liberal project. “My suspicion is that those who promote the middle class  discourse in that way, based on such a low threshold, were desperate to look for the success story that testifies to Africa rising.”

Another pitfall of such a middle-class analysis is its ahistorical contextualisation. This economically-reduced notion of the class is a sheer distortion. Prof Melber advised analysts to take cognisance of factors, such as consumption patterns, lifestyle, and political affiliation, amongst others.

In his second lecture for the day, Prof Melber dealt withthe topic of: Namibia since independence: the limits to Liberation, painting the historical backdrop against which the country’s current government is consolidating its political hegemony. He highlighted examples of the limited transformation that has been achieved since Namibia’s independence in 1990.

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