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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

Afrikaans speakers should think differently, says Coenie de Villiers
2016-06-08

Description: Coenie de Villiers Tags: Coenie de Villiers

Coenie de Villiers was the speaker at the DF Malherbe
Memorial Lecture, held in the Equitas Building on the
University of the Free State Bloemfontein Campus on
24 May 2016.
Photo: Stephen Collett

Do not ask what can be done for your language, but what your language can do for others. With this adaptation of the late John F. Kennedy’s famous words, Coenie de Villiers stressed that the onus for the survival of their language rests with Afrikaans speakers.

According to the television presenter and singer, the real empowerment of Afrikaans does not necessarily take place in parliament. He was the speaker at the DF Malherbe Memorial Lecture, presented in the Equitas Building on the University of the Free State Bloemfontein Campus on 24 May 2016. The lecture by De Villiers, a UFS alumnus, was titled Is Afrikaans plesierig? ’n Aweregse blik.

Government not the only scapegoat
He used Kennedy’s famous phrase, Ask not what your country can do for you, but what you can do for your country, as framework. “I believe that, if we reverse our sights and do not ask what the world can do for Afrikaans, but ask for a change what Afrikaans – and in particular each and every user thereof – can do for others, then we have, in good English terms, ‘a fighting chance’ that Afrikaans will not only survive, but that it will thrive.” He said it would be too easy to just blame the government’s language policy and/or its lack of application for the language’s uncertainties.

Speakers should act correctly
He said the actions of speakers, sometimes motivated by a love for the language, often causes more damage. “It is not the language that should squirm under the microscope. It isn’t Afrikaans that is being tested: it is us, the speakers, writers, thinkers, doers, and tweeters of the language that are being measured.”
De Villiers believes one should stand up for your language without hesitation or fear, but not necessarily in the middle of the road, and never in such a way that you abandon the moral compass of humanity.

Language will live on

He told the audience that Afrikaans speakers should maintain their language every day with the merit, humanity, and respect that they believe the language – and they themselves – deserve. The language will “live on as long as we use it to laugh, and talk, and sing, and do not kill it off with rules and directives.”

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