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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

Ecofeminism a possibe solution to impending famine
2016-05-12

Description: Ecofeminism Tags: Ecofeminism

Dr Inge Konik (right) is pictured with her postdoctoral supervisor, Prof Bert Olivier, Senior Research Professor at the Department of Philosophy.
Photo: Valentino Ndaba

In view of the environmental and social problems faced in South Africa today, researchers such as Dr Inge Konik are hard at work mapping these issues and seeking long-term solutions. Dr Konik,  a lecturer in the Department of Journalism, Media and Philosophy at the Nelson Mandela Metropolitan University (NMMU) shared her views in a presentation on 6 May 2016. She spoke about revaluing indigenous ways of life and subsistence-focused lifeways, linking this to materialist ecological feminism, or ecofeminism for short.

Dr. Konik’s presentation, hosted by the Department of Philosophy at the Bloemfontein Campus of the University of the Free State (UFS), was entitled: “Transversal reflections on ecological feminism and ubuntu.” The research underpinning the presentation derived from Dr Konik’s doctoral thesis which was supervised by Ariel Salleh (University of Sydney) and Andrea Hurst (NMMU).

Dr Konik’s research suggests that ecofeminism - which is a convergence between environmentalism and feminism - may hold the answers to the question of how we may work against environmental and social injustices. She also proposed that society look back toward subsistence communities of the past, and those currently being marginalized in our industrial societies, and linked the values evidenced in the practices of these communities to the African philosophty of ubuntu. In order to solve  complex contemporary challenges Dr Konik suggests that we combine these seemingly disparate theoretical frames - ubuntu and ecofeminism - by applying a transversal approach, which involves openness to dialogue  between traditions.

“My focus was on ecological feminism and critical theory and very specifically on South Africa, given the challeges South Africa faces - the environmental and social challenges and what kind of frameworks would be helpful,” said Dr Konik, who will officially become a postdoctoral research fellow at the department as of July 2016.

Prof Pieter Duvenage, Head of the Departement, stated that compelling research outputs are anticipated from Dr Konik as a fellow.

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