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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

Translation Day Seminar
2007-10-22

Subverting the West? Engaging language practice as African interpretation.

With the above-mentioned title in mind, about 30 people gathered at the Main Campus of the University of the Free State (FS) in Bloemfontein for a Translation Day Seminar. The day was attended by academics, language practitioners, government departments, students, and other stakeholders in language practice.

Prof. Jackie Naudé, the Programme Director for the Programme in Language Practice at the UFS, gave a short historical overview of developments in research and training in language practice of the past decade. He argued in favour of a socio-constructivist approach to teaching and research in language practice. His point was that students need to be given the opportunity to engage with the complexities of real-life problems, specifically the complexities of the African context.

Dr Kobus Marais, Senior Lecturer in Translation Studies at the UFS, gave an overview of the state of the art of translation research. This meant that language practitioners are agents in communication, not mere conduits of meaning. He argued that translators’ agency implied that they have to make informed choices, the most important of which is whether to indigenise or foreignise when translating. He developed wisdom as a notion in translation, indicating that translators need to be wise to interpret their context and translate in such a way that (Western) ideology does not ride piggy-back on their translations into the African target culture.

Prof. Joan Connoly, Associate Professor in the Centre for Higher Education Development at Durban University of Technology (DUT), took the audience on a breathtaking journey on the topic of oral knowledge. Her presentation showed examples, both European and African oral knowledge and had a clear message for language practitioners: What can Africans learn from the Western mind? Her answer: "Africans can learn how easy it is to loose one’s oral knowledge base. Africans can look at the West and see what the consequences are when a culture loses its oral-based knowledge. Language practitioners have it in their power to consider this possible loss and do something about it."

Lastly, Ms Lolie Makhubu, Head of the Department of Language and Translation at DUT, spoke about enticement in interpreting to use loan words to impress either the audience or peers or clients. Her argument boils down to the interpreter’s attitude towards African culture and language. If Western culture is regarded as higher than African culture, interpreters will be tempted to boast their knowledge of Western culture by means of their choice of words. However, if interpreters are “Proudly South African”, as she put it, they have not need for showing off by using loan words.


 

Dr Kobus Marais (Senior Lecturer in Translation Studies at the UFS) during the seminar.
Photo (supplied)

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