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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/

I am woman
I am woman
Megan Johns, "Battleground", Tobacco, charcoal dust, plaster of paris and resin, 93,5 x 50 x 7,5 cm
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
Poloko Mohanoe, "Prayer for rain", Gouache on Fabriano, 66 x 72,8 cm

News Archive

Housing strategy must accommodate special needs
2005-10-17

Dr Mark Napier of the Council for Scientific and Industrial Research (CSIR) 

South Africa’s housing strategy must give attention to people with special needs, including people with disabilities as well as people living with HIV / AIDS and those in poverty.

This was the view expressed by Dr Mark Napier of the Council for Scientific and Industrial Research (CSIR) during his recent presentation to the Housing Research Day organised by the Centre for Development Support (CDS) at the University of the Free State (UFS).

Dr Napier previously worked in the national Department of Housing and was involved in shaping the recently launched “Breaking New Ground” housing strategy of Minister Lindiwe Sisulu. 

He said the changing social and demographic trends in South African society, especially after 11 years of democracy, required more flexibility in housing delivery to address the housing needs of different groups of people.  “For example, there are people who wish to or may be required to be spatially mobile because of their work or other reasons. There are also those communities who are vulnerable to disasters,” he said.

According to Dr Napier, housing delivery faced a number of challenges which needed to be addressed, including:

  • the withdrawal of larger construction firms
  • perceptions of low profit margins in the private sector
  • the slow process of developing an emerging contractor sector
  • access to bridging and other finance
  • the ability to retain capacity and expertise mainly at municipal level
  • the acquisition of well located (especially inner city) land

Dr Napier said the new housing strategy – which is called “Breaking New Ground” – tries to go beyond the provision of basic shelter to the establishment of sustainable settlements. It is also tries to be more responsive to housing demand rather than being supply led.

 The new strategy also allows for greater devolution of power to municipalities in the provision of housing, through accreditation to manage subsidies, Dr Napier said. 

He said a survey of people who had benefited from government’s housing programme had shown mixed results, with beneficiaries reporting a sense of security, independence and pride.  Although the location of the houses was poor and there were increased costs, most beneficiaries said they were better off than before, according to the survey.  Beneficiaries also highlighted the problem that they had very little personal choice between houses, sites or settlements.

There was also the perceived failure of developers and municipalities to repair defective houses or adequately maintain settlements, the survey found.
Many beneficiaries also reported that they felt unsafe in their settlements as well as in their own houses.

Prof Lucius Botes, the director of the Centre for Development Support, said the research day highlighted the Centre’s ability to interact with real problems faced by communities, by government, the private sector and civil society.  “This is how we can ensure that the UFS is engaged through our research with our people’s problems and challenges and enables the UFS as a place of scholarship to assist in finding solutions,” Prof Botes said.

Media release
Issued by:Lacea Loader
Media Representative
Tel:   (051) 401-2584
Cell:  083 645 2454
E-mail:  loaderl.stg@mail.uovs.ac.za
17 October 2005   
 

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