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Locked down, but not locked out — UFS Arts thriving

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/

Megan Johns, "Battleground", Tobacco, charcoal dust, plaster of paris and resin, 93,5 x 50 x 7,5 cm

Poloko Mohanoe, "Prayer for rain", Gouache on Fabriano, 66 x 72,8 cm

News Archive

ANC Centenary Dialogue reflects on past leadership

2011-10-12

Making their mark at the ANC Centenary Dialogue were, from left to right: Prof. Kwandiwe Kondlo, Senior Professor: Centre for Africa Studies (UFS); Dr Adekeye Adebajo, Director: Centre for Conflict Resolution (Cape Town); and Prof. E C Ejiogu, Senior Researcher: Centre for Africa Studies (UFS).

The Centre for Africa Studies at our university recently hosted its ANC Centenary Dialogue at the Bloemfontein Campus. Keynote speaker, Dr Adekeye Adebajo, delivered a paper titled Nelson Mandela, Thabo Mbeki, and the ANC’s Footprint in Africa. The lecture focused on two of South Africa’s democratically-elected presidents.

Mr Nelson Mandela was South Africa’s first democratically-elected president. This Nobel Peace Laureate played a prophetic leadership role in Africa in 1993. He was inspired by Mr Mahatma Gandhi’s tactics of ‘passive resistance’, which played a role in the ANC’s Defiance Campaign.

Mr Mandela’s visit to other African countries gave him insights into continental diplomacy and the tactics of other liberation movements. “The ANC used Madiba to embody the face of the struggle. He emerged from prison without any bitterness towards his enemies. He tirelessly promoted national reconciliation,” said Dr Adebajo.

Unlike other post-independence ‘Founding Fathers’, Mr Mandela bowed out gracefully at the end of his first presidential term in 1999, setting a standard for future African leaders aspiring to greatness. “Mr Mandela’s lasting legacies are his efforts at promoting national and international peacemaking,” elaborated Dr Adebajo.

Mr Thabo Mbeki challenged Africans to discover a sense of their own self-confidence after centuries of slavery and colonialism. Under his foreign policy, South Africa established solid credentials to become Africa’s leading power. He sought multilateral solutions to resolve regional conflicts. Mr Mbeki also sent peacekeepers abroad and increased South Africa’s credibility as a major geostrategic player in Africa.

Many question whether Mr Mbeki’s heirs, President Jacob Zuma and beyond, will maintain the same level of commitment to the continent that he demonstrated. Mr Mbeki has bequeathed this foreign policy legacy to his successors. “These very different ANC leaders have left a heavy African footprint on the sands of time,” concluded Dr Adebajo.

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