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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

New building for Centre for Financial Planning Law

2012-04-23

A graphic illustration of the new building for the Centre for Financial Planning Law.
19 April 2012

During a recent tree planting ceremony, the Centre for Financial Planning Law in the Faculty of Law officially handed over the site for a new building for the centre. The building should be complete by the end of 2012.

The Centre for Financial Planning Law’s present premises has become too small for the needs of the centre, thus a decision was taken to build a new building.

The centre, which was opened in 2001 with three staff members, grew during the past 11 years to a centre with 13 permanent staff members. Some 1 300 students – 120 undergraduate and 1 200 postgraduate students in the Postgraduate Diploma in Financial Planning Law and the Advanced Postgraduate Diploma in Financial Planning Law respectively – are enrolled at the centre. Undergraduate students attend weekly contact sessions while the postgraduate students all study electronically through distance education.

According to Mr Rudolf Bitzer of Bitzer Design Studio, one of the two architecture firms involved in the development of the building, the new building was planned in order to to make provision for future extensions. “The opportunity for the centre to function independently was important from the beginning and facilities had to be positioned in such a way that the lecture hall and committee room could be hired out commercially when lectures were not being presented.

“The building consists of a large reception venue, which gives access to a lecture hall (which can be subdivided), a committee room, public amenities and a reception counter. The centre will present about ten lectures annually in its own building and the lecture hall can accommodate 80 students. Exams will also be written in the venue,” said Mr Bitzer.

The usable inside area of the building totals 827 square metres.

The staff function in their own section of the building, with the offices arranged around a courtyard. Security access makes it a secure environment. In addition, staff have access to a staff room with a service hatch to the reception room, reception counter, personal assistant’s office, nine individual offices and a large open plan office, a storeroom, a cleaners’ room and facilities for staff.

“With the design, an attempt was made to make the building stand comfortably in the landscape without disappearing into the natural landscape. It is an unpretentious building, which seeks to provide well articulated architecture,” said Mr Bitzer.

The architecture firms involved are Bitzer Design Studio and Roodt Architects.

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