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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

Well-established root system important for sustainable production in semi-arid grasslands
2015-02-24

Plot layout where production and root studies were done
Photo: Supplied

The importance of a well-established root system for sustainable production in the semi-arid grasslands cannot be over-emphasised.

A study of Prof Hennie Snyman from the Department of Animal and Wildlife and Grassland Sciences at the University of the Free State is of the few studies in which soil-water instead of rainfall has been used to estimate above- and below-ground production of semi-arid grasslands. “In the past, plant ecological studies have concentrated largely on above-ground parts of the grassland ecosystem with less emphasis on root growth. This study is, therefore, one of the few done on root dynamics in drier areas,” said Prof Snyman.

The longevity of grass seeds in the soil seed bank is another aspect that is being investigated at present. This information could provide guidelines in grassland restoration.

“Understanding changes in the hydrological characteristics of grassland ecosystems with degradation is essential when making grassland management decisions in arid and semi-arid areas to ensure sustainable animal production. The impact of grassland degradation on productivity, root production, root/shoot ratios, and water-use efficiency has been quantified for the semi-arid grasslands over the last 35 years. Because of the great impact of sustainable management guidelines on land users, this study will be continuing for many years,” said Prof Snyman.

Water-use efficiency (WUE) is defined as the quantity of above- and/or below-ground plant produced over a given period of time per unit of water evapotranspired. Sampling is done from grassland artificially maintained in three different grassland conditions: good, moderate, and poor.

As much as 86, 89 and 94% of the roots for grasslands in good, moderate and poor conditions respectively occur at a depth of less than 300 mm. Root mass is strongly seasonal with the most active growth taking place during March and April. Root mass appears to be greater than above-ground production for these semi-arid areas, with an increase in roots in relation to above-ground production with grassland degradation. The mean monthly root/shoot ratios for grasslands in good, moderate, and poor conditions are 1.16, 1.11, and 1.37 respectively. Grassland degradation lowered above- and below-ground plant production significantly as well as water-use efficiency. The mean WUE (root production included) was 4.79, 3.54 and 2.47 kg ha -1 mm -1 for grasslands in good, moderate, and poor conditions respectively.

These water-use efficiency observations are among the few that also include root production in their calculations.

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