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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

IRSJ marks five years of championing social justice

2016-08-12

Description: IRSJ 5 year Tags: IRSJ 5 year

Members of the Advisory Board of the IRSJ,
Prof Michalinos Zembylas (Open University
of Cyprus), Prof Shirley Anne Tate (Leeds
University, England), and Prof Relebohile
Moletsane (University of KwaZulu-Natal),
listen to a speaker on the programme.
Photo: Lihlumelo Toyana

The Institute for Reconciliation and Social Justice (IRSJ) marked its fifth anniversary with a function on 27 July 2016 in the Reitz Hall of the Centenary Complex on the Bloemfontein Campus of the University of the Free State (UFS). Earlier that day, the Advisory Board of the IRSJ, chaired by Prof Jonathan Jansen, Vice-Chancellor and Rector of the UFS, hosted their annual meeting.

A new book was also launched, co-authored by JC van der Merwe, Deputy-Director at the IRSJ and Dionne van Reenen, researcher and PhD candidate at the IRSJ. It is entitled Transformation and Legitimation in Post-apartheid Universities: Reading Discourses from ‘Reitz’. The function featured not only reflections on the IRSJ, but a four-member panel discussion of the book and higher education in 2016.

The IRSJ came into being officially at the UFS in January 2011. Prof André Keet, Director of the IRSJ, said: “With a flexibility and trust not easily found in the higher education sector, the university management gave us the latitude and support to fashion an outfit that responds to social life within and outside the borders of the university, locally and globally.”

The IRSJ has not hesitated to be bold and
courageous in reforming ... traditional policies."

Prof Jansen went on to mention three things he finds appealing about the IRSJ: “Thanks to Prof Keet and his team’s vision and understanding of how important it is for students to have a space in which they can learn how to be, learn how to think, and learn how to contribute, the IRSJ has become a place where students can learn about things that they might not learn in the classroom. Second, it created, for the first time, a space where members of the LGBTIQ community could gather in one place. And third, it speaks to the intellectual life of the university, as evidenced by the research and publications produced over the past few years.”

Prof Jansen added: “The IRSJ will only be successful to the extent that we have safe spaces, courageous spaces, in which not only black students talk to themselves, but where black and white students talk together about their difficulties. If you’re entangled, you can’t get out of [that] unless you speak to the other person.”

Prof Michalinos Zembylas of the Open University of Cyprus and member of the Advisory Board, said of the IRSJ: “The works produced by the institute in this short time have been valuable to this community and beyond, because they recognise the complexities of education, ... while pushing the boundaries of how to translate theoretical discussions into practical, everyday conditions. ... For example, the IRSJ has not hesitated to be bold and courageous in reforming some traditional policies in this university—remnants of an ambivalent past that reproduced inequality and disadvantage.

In reflecting on how the IRSJ came into being during her opening remarks, Dr Lis Lange, Vice-Rector: Academic at the UFS, said that it has always been “dedicated to transformation.” She added that it “gathered the energy and creativity of some of our most promising student leaders.” She concluded: “For me, the greatest success of the Institute, besides publications and local and international networks, is the fact that something that started in the margins is being asked today to come closer to the centre, to play a larger role in the structural transformation of the university.”

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