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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

The UFS issues a statement regarding the outcome of recent court case
2014-09-15

A significant number of reports appeared in the media the past week regarding this alleged attack, which happened on the Bloemfontein Campus of the UFS on 17 February 2014.

Although the senior leadership of the UFS is always in favour of good and objective journalism, we find it unfortunate that some of the facts are reported in a misleading and/or inaccurate way by some of the local media.

It is important to us that the true facts are stated. Not only for the sake of those involved, but also for our staff, students, alumni and other important stakeholders.

Here are the facts:

1.    The university was not the complainant. The alleged incident was reported to the South African Police Service (SAPS) by the victim, Muzi Gwebu, and the charges were laid by the State.

2.    At no point did the university management in any of its public statements describe this incident as a case of racism; not once. Charges of racism, then and now, must be proven, not assumed to be true simply because someone alleges racism. That is our standard approach, then and now.

3.    Cobus Muller and Charl Blom were suspended by the university, not expelled – pending the results of the court case. Emotions were running high among members of the student body and, on grounds of the evidence available to the university management at the time, as well as concerns for student and campus safety, they were suspended pending the outcome of a court hearing. This is normal procedure. Suspension does not mean you are guilty; it means you have a case to answer, either according to the university's disciplinary procedures or in the courts. For these reasons the university management will not apologise for the suspension.

4.    The university awaited the outcome of the court case before deciding whether disciplinary action should also be taken against Cobus Muller and Charl Blom. In the light of both the South African Human Rights Commission (SAHRC) and the Regional Court rulings, the university management subsequently decided to lift the suspensions of both Muller and Blom from all campuses of the university with immediate effect.

Muzi Gwebu laid serious charges with the SAPS almost immediately after the incident, and the university management believed, on the evidence then available, that the students had a case to answer.
 
5.    As the Director of Public Prosecutions decides on who will be prosecuted and who not, there are no grounds for the university to pay the legal fees of any of the students in this case.
 
Finally:
The University of the Free State will not be fazed by inaccurate and distorted information, rumour and exaggerations. We are still striving to become a truly excellent university, with a focus on the academic, but also the human development of our students.

Issued by: Lacea Loader (Director: Communication and Brand Management)
Tel: +27 (0) 51 401 2584 | +27 (0) 83 645 2454
E-mail: news@ufs.ac.za

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