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31 October 2021 | Story Rulanzen Martin | Photo Stephen Collett
Stegmann Gallery - Stephen Collett
The Johannes Stegmann Gallery.

Digital and online art exhibitions are no novelty. However, for the Art Gallery at the University of the Free State (UFS), it was a way of keeping the art scene alive, as many promising young artists and students depend on the exhibition opportunities UFS Art Galleries offer to debut and exhibit their works.

“The situation surrounding COVID-19 necessitated a very rapid migration into the virtual space,” says Angela de Jesus, Curator of the UFS Art Gallery. In 2020, the gallery presented its first virtual exhibition tour, creating an opportunity to reach a global audience. The exhibition hosted by the Johannes Stegmann Gallery was Leeto: a Sam Nhlengethwa Print Retrospective. (It was the second virtual exhibition for the Sam Nhlengethwa collection.)

The UFS Art Galleries comprise the Johannes Stegmann Gallery in the UFS Sasol Library on the Bloemfontein Campus and the Centenary Complex, boasting an art gallery that hosts the UFS permanent collection of about 1 000 artworks, including paintings, sculptural works, murals, prints, and ceramic works.

“The situation surrounding COVID-19
necessitated a very rapid migration
into the virtual space.”
—Angela de Jesus

Challenging times called for an adaptive attitude

In 2021, the gallery approached a hybrid model with a blended approach of an in-person and virtual exhibition being launched simultaneously. “The virtual tours allow audiences to digitally navigate (‘walk through’) the gallery space as they would in real space,” says De Jesus.

The Liminality: Student Exhibition, which saw works from first-, second, - and third-year students from 2019 and 2020 exhibited, and the Folds & Faults: An Exhibition of African Women Artists Examining Identity, Culture, and Heritage , and The Annual Final-Year Student Exhibition of the Department of Fine Arts exhibitions were just some of the 2021 exhibitions using the hybrid model.

“Every project is different, and each one comes with its own challenges and difficulties, but we learn new ways through its complexities,” says De Jesus. However, she is optimistic that the gallery will soon be able to host its signature opening events and welcome back large crowds.

 The limitation on in-person gatherings meant that traditional exhibitions were in a hiatus. The value and quality of the arts programme had to be maintained, using creative arts to navigate the pandemic. “Projects have been reimagined into the digital space through virtual tours or through the activation of social media platforms, Zoom, app development, webinars and dedicated project websites,” De Jesus says. New and exciting projects in response to the pandemic and feelings of “isolation, uncertainty, violence, and the digital overload” were initiated.

Although viewing art virtually cannot replace the experience of engaging with the art first-hand; the shift to the digital space presented the opportunity for a wider audience beyond the UFS to access the Art Gallery and its projects.

PIAD projects rejuvenate artistic creativity

Through the Programme for Innovation in Artform Development (PIAD) and funding from the Andrew W. Mellon Foundation, a number of digital artistic projects consisting of short stories, a theatrical performance, and a satirical e-commerce website, amongst others, were made possible.

The projects are still accessible and are available to view 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 an 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 emotionally content dedicated 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 is 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 is an experimental project of live and participatory experiences with over 40 creative practitioners, consisting of sound and film mixing, drawing, animation, puppetry and performance.

SEE PROJECT HERE: https://imaginaryfutures.org/

News Archive

Self-help building project helps to change lives
2017-12-15


 Description: Eco house read more Tags: Anita Venter, Start Living Green’, Earthship Biotecture Academy, construction skills 

Anita Venter, lecturer in the Centre for Development Support, with the residents of
the eco friendly house. Photo: Supplied

UFS PhD student Anita Venter did not know it in the beginning, but her doctoral research would eventually change her life and the lives of many others. 

The research was whether South Africa’s housing policies were socially and culturally responsive to grassroots reality in informal settlements. Venter agreed her research approach might have raised a few eye brows, but it was a journey she holds had more benefits than failures. 

Green living
For her case studies, Venter looked at ‘Start Living Green’ as a concept and further examined the implementation models of Earthship Biotecture Academy in New Mexico and Central America and the Long Way Home non-profit organisation in Guatemala. 

These groups train people with no specialised construction skills in applying and managing environmentally sound self-help building projects. Furthermore, their primary objectives were not building-related, but people-centred, with an advocacy role to create social, environmental and educational change through utilising the building technologies. 

It resulted in Venter signing up for a course in Guatemala to get the skills to implement her case studies here at home in Bloemfontein. 

An experimental mud, straw and waste material structure in her back yard grew into similar houses built in informal settlements, through the transfer of knowledge of indigenous building methods.  

Are rickety corrugated iron shacks only alternative?

Her case studies, one in Freedom Square in the Mangaung Metro Municipality, highlighted, among others, baffling tenure insecurities and “tangible conflicts” entrenched between Westernised and African perspectives on home ownership.

Venter says her thesis, in essence, did not oppose existing housing strategies but did challenge the applicability of an economically inclined model as the most appropriate housing option for millions of households living in informal settlements. 

The main findings of the case studies were that self-help building technologies and skills transfer could make a significant contribution to addressing housing shortages in the country; in particular in geographical locations such as the Free State province and other rural areas.

Venter’s own words after her academic endeavour are insightful: “These grassroots individuals’ courage to engage with me in unknown territories, gave me hope in humanity and inherent strength to keep on pursuing our vision of transforming informal settlements into evolving indigenous neighbourhoods of choice instead of only being living spaces of last resort.”

Positive results 
The study has had many positive results. The City of Cape Town is now looking at new innovative building technologies as a result. Most importantly Venter's study will open further discussions that necessarily challenge the status quo views in housing development. 

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