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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

UFS postdoctoral Fellow expands international opportunities for women in Science Communication
2016-12-13

Description: Mikateko Höppener Tags: Mikateko Höppener 

Mikateko Höppener, postdoctoral Fellow at the
Centre for Research on Higher Education and
Development (CRHED), University of the Free State (UFS),
who was selected as one of five South African women
to participate in the Best Practice in Science
Communication UK study tour.

“Often, the power lies in our own hands as individuals to take the initiative, be curious about opportunities to learn, develop an interest to make a positive contribution in society through our research, and make use of our networks within and outside of academia to effect positive change.”

This is according to Mikateko Höppener, a postdoctoral Fellow at the Centre for Research on Higher Education and Development (CRHED), at the University of the Free State (UFS), who was selected as one of five South African women to participate in the Best Practice in Science Communication UK study tour. This was part of the British Council and Academy of Science South Africa (ASSAf) women in science project.

Höppener said she saw this as an opportunity to expand opportunities for women in Science, Technology, Engineering and Mathematics (STEM). “The whole experience reinforced my conviction that there is a lot of untapped potential for young people to practise and enhance science communication in South Africa for the betterment of our communities,” she said.

During her visit to the UK, Höppener was exposed to an international networking platform of science communication practitioners and stakeholders such as the Director for Development of Vitae, departments at The Royal Society, science journalists at the BBC World Service, policy advisers and public engagement teams at the Welcome Trust, the Director of SciDev.net, and the Science Adviser for STEM Education and Public Engagement at the British Council.

Höppener said each of these meetings had highly interactive presentations and discussions with members of various organisations and the South African delegation. 

Being selected for the science communication fellowship and attending the study tour was not only personally and professionally rewarding for Höppener, it also enabled her to pass on what she had learnt to fellow emerging women researchers in South Africa.

Earlier this year, she hosted a WiSTEM (Women in Science, Technology, Engineering and Mathematics) Science Communication and Engagement Workshop at the UFS and through press releases and radio interviews, brought positive attention to the UFS to inspire young women across the country to get involved in science communication training.

“I intend to establish a science communication and engagement centre at the UFS where ongoing training, mentorship and support will be offered to young researchers to learn how to orient their knowledge and research to community development through science communication,” said Höppener.

The Best Practice in Science Communication UK study tour took place from 24 to 28 October 2016 as part of the Newton Fund Professional Development Programme South Africa.

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