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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

Dialogue between Science and Society series looks at forgiveness and reconciliation

2013-03-24

Taking part in the discussion on forgiveness and living reconciliation, were from left: Olga Macingwane, a survivor of the Worcester bombing of 1993; Dr Juliet Rogers, a Scholar on Remorse from the University of Melbourne in Australia and Dr Deon Snyman, Chairperson of the Worcester Hope and Reconciliation Process.
Photo: Mandi Bezuidenhout
24 March 2013

How do you, as a mother who lost her only daughter, forgive the man who claimed responsibility for the attack that killed her? How do you forget his crime while travelling with him across the world?

These were some of the questions posed to Jeanette Fourie at a Dialogue between Science and Society series on forgiveness and living reconciliation. Jeanette, whose daughter Lyndi was killed in an attack on the Heidelberg Pub in Cape Town in 1993, was one of three people telling their stories of forgiveness while dealing with traumatic experiences.

Sitting next to Letlapa Mphahlele, the man who owned up to the attack that killed her daughter, Jeanette spoke about their story of forgiveness traveling the world together, spreading the message of forgiveness and conciliation.

"Don't ever think you can forget, because that’s not possible. What you do with the pain is to find peace, and that's what forgiveness does. Forgiveness allows you to stop all the dialogue in your head on why he did it. You don't forget, you confront it and you deal with it."

Letlapa, Director of Operations of Apla, the military wing of the PAC at the time of Lyndi's death, spoke about dealing with the response to his crime. "Sometimes you wish that you were not forgiven, because now you have the great burden of proving that you are worthy of forgiveness."

Also telling her story of forgiveness was Olga Macingwane, a survivor of the Worcester bombing of 1993 in which four people were killed and sixty-seven others injured. Four people were sent to prison. In 2009 Olga met one of the perpetrators, Stefaans Coetzee, and what came out of that meeting, is her story.

"When I met Stefaans I was very angry, but when you sit down with somebody and listen to him or her, you find out what the reasons were that made him or her do something. I can say that I forgave him."

Facilitating the conversation, Prof Pumla Gobodo-Madikizela, Senior Research Professor on Trauma, Forgiveness and Reconciliation, said the seminar was meant to get in touch with the truth that forgiveness is possible.

"Before we had the Truth and Reconciliation Commission (TRC) in South Africa, the experts always said that forgiveness was not possible in these stories of the past. And then the TRC came into life as a response to mass atrocities. For the first time in the history of these traumatic experiences, of political traumas, we witness something that we have never seen. Even us on the TRC, although it was framed as reconciliation, we never imagined there would actually be stories of forgiveness emerging out of that process, and then we witness that this too is possible."

Others who took part in the two-hour-long seminar, were Dr Juliet Rogers, a Scholar on Remorse from the University of Melbourne in Australia and Dr Deon Snyman, Chairperson of the Worcester Hope and Reconciliation Process. They spoke about the dynamics behind the processes of engagement between victims/ survivors and perpetrators.

The Dialogue between Science and Society series was co-hosted by the Institute for Reconciliation and Social Justice.

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