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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

Lecture on interpretations and translations of San place names
2011-09-23

Prof. Peter Raper, recently appointed as Honorary Professor: Linguistics, in the Department of Language Management and Language Practice at the University of the Free State, will deliver his inaugural lecture on Tuesday evening, 27 September 2011. His topic for the evening is “Interpretations and translations of Bushman (San) place names”. With this inaugural lecture, he also introduces an interesting one-day international colloquium on the theme: “Name-change planning – striving towards authenticity”.A panel discussion about street-name changes in Bloemfontein forms part of this colloquium and promises to elicit a stimulating debate.

Prof. Raper is probably better known for three popular place-name dictionaries, Streekname in Suid-Afrika en Suidwes, published in 1972; the Dictionary of Southern African Place Names, published in 1987, updated in 1989 and published in 2004 with some additions as New dictionary of South African place names; and Hottentot (Khoekhoen) place names, a dictionary compiled in collaboration with the famous Prof. G S  Nienaber (a former Kovsie). In fact, Prof. Raper’s work is a continuation of their world-renowned series, Toponymica Hottentotica, which was published between 1977 and 1981. It is generally regarded as the most authoritative work on Hottentot place names. His current interest in Bushman place names builds on this pioneering work and is actually also a re-evaluation of the underestimated role of the Bushman with regard to place naming in South Africa up to now. His work offers a new perspective on what could be regarded as the “first” or earliest names of places in South Africa and brings a sobering perspective to the current debates regarding place-name changes where various claims are made about “who has given the name first”.

However, Prof. Raper is also known for his role in the standardisation of place names, both nationally and internationally. In South Africa, he has served on the South African National Place Names Committee (1972-1999), the South African Geographical Names Council (1999-2002) and, since 1981, on the Names Society of Southern Africa. Currently, he is an honorary member of this association. Since 1984, he has also been serving on the United Nations Group Experts on Geographical Names and has even been the Chairperson of this Leading international standardisation body (1991-2002).

Apart from this, Prof. Raper regularly publishes his research on geographical names in a variety of academic journals and still participates in the most important national and international conferences on names on a regular basis. Prof. Raper is honoured as South Africa’s foremost names expert.

His inaugural lecture will introduce a colloquium on names planning, presented by his host department. Experts from Lesotho, Zimbabwe and the USA are participating in the proceedings, amongst others, the current Chairperson of the Names Society of Southern Africa, Prof. Adrian Koopman (University of KwaZulu-Natal).

RSVP: Joy Maasdorp on +27(0)51 401 2405 or maasdorpjh@ufs.ac.za before or on Thursday, 22 September 2011.

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