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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

UFS Faculty of Theology and Jonathan Edwards Centre at Yale University forge strategic partnership
2009-06-10

 
Prof. Francois Tolmie, Dean of the UFS’s Faculty of Theology.
Photo: Supplied


The Faculty of Theology at the University of the Free State (UFS) will establish a Jonathan Edwards Centre for Southern Africa, affiliated with the Jonathan Edwards Center at Yale University in New Haven in the United States of America.

This strategic partnership exemplifies the vision of the Faculty of Theology to be an internationally renowned theological and training faculty.

The UFS Jonathan Edwards Centre will serve as a research, education and publication hub for the study of Edwards and evangelical history and develop links with the international academic community.

Prof. Francois Tolmie, Dean of the Faculty of Theology at the UFS, said, “I welcome the plans to pay sustained critical attention to Edwards’s thought. Jonathan Edwards was an important American theologian, philosopher and more specifically America's greatest contributor to mission theology in Southern Africa.”

Dr Kenneth Minkema, Executive Director of the Jonathan Edwards Center at Yale University, adds: “The establishment of the Jonathan Edwards Center Southern Africa at the UFS in Bloemfontein is a significant expansion of Edwards scholarship and will serve widely both academia and the church.”

Jonathan Edwards (1703-1758), pastor, revivalist, Christian philosopher, missionary, and president of Princeton University, is widely regarded as North America’s greatest theologian. He is the subject of intense scholarly interest because of his significance as an historical figure and the profound legacy he left on America’s religious, political and intellectual landscapes.

In recent years, a rapidly growing interest in Edwards as theologian has brought the man and his writings onto the world stage, pressing beyond the popular and more parochial image of Edwards primarily as American preacher and American historic figure. Increasingly, his writings are being consulted by religious leaders, pastors, and churches around the world, spurred by a growing recognition of the fervency and universality of the Edwards message and the acumen with which he appraised religious experience.

This interest in Edwards globally has been fuelled in part by the work of the Jonathan Edwards Centre at Yale University, whose sole mission is to support inquiry into the life, writings, and legacy of Jonathan Edwards by providing resources that encourage critical appraisal of the historical importance and contemporary relevance of America’s premier theologian. The primary means to achieve this is with the The Works of Jonathan Edwards Online, a digital learning environment for research, education and publication that presents all of Edwards’s writings, along with helpful editorial materials that allow the reader to examine Edwards's thought in incredibly powerful, useful ways. The Works of Jonathan Edwards Online 2.0 is accessible through the Centre’s website at: www.edwards.yale.edu.

Media Release:
Mangaliso Radebe
Assistant Director: Media Liaison
Tel: 051 401 2828
Cell: 078 460 3320
E-mail: radebemt.stg@ufs.ac.za
10 June 2009

 

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