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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

UFS the only university in South Africa with a P-rated history researcher
2016-12-13

Description: Dr Daniel Spence Tags: Dr Daniel Spence  

Dr Daniel Spence has been earmarked by the NRF
to become a future international leader in his field
of expertise.
Photo: Supplied

The University of the Free State (UFS) is the only university in South Africa with a P-rated History researcher. Dr Daniel Spence, a postdoctoral Research Fellow at the International Studies Group (IGS), and a member of the Vice-Chancellor’s Prestige Scholar’s Programme at the UFS, was last week awarded a National Research Foundation P-rating by the National Research Foundation (NRF). Dr Spence is the first South African historian to achieve this honour.

Leader of the pack
P-ratings are given to young researchers, usually under the age of 35, who have the potential to become leaders in their field. Researchers in this group are recognised by all, or the overwhelming majority of, reviewers as having demonstrated the potential to become future international leaders.

The rating is awarded on the basis of exceptional research performance and output from their doctoral and early postdoctoral research careers.

Other researchers from the UFS who obtained P-ratings in the past, are Prof Lodewyk Kock (1986), Prof Zakkie Pretorius (1989), and Prof Robert Schall (1991).

Extraordinary achievement lauded  
“It is an extraordinary achievement. There are fewer P-ratings, than there are A-ratings,” said Prof Neil Roos, associate professor at the ISG. Prof Roos said the P-rating was seldom awarded to researchers within the field of Humanities.

As a member of the ISG, Dr Spence’s research has flourished under the guidance of Prof Ian Phimister. Much of the success of this group is due to the way it operates as an incubator for high-level research, with scholars collaborating with each other.

In addition to Dr Spence’s magnificent P-rating, the ISG currently has three C1-rated researchers (established researchers with a sustained recent record of productivity in their field) and two Y1-rated researchers (researchers 40 years old or younger, who are recognised by all reviewers as having the potential to establish themselves as future leaders in their fields).

“From the time Dr Spence wrote his doctoral thesis on the colonial history of the Royal Navy, he has expanded his field of expertise so that he can address imperial and global histories of race,” said Prof Roos.

Demonstrated research excellence
Dr Spence secured a postdoctoral Research Fellowship at the UFS to develop an African case study to augment his Asian and Caribbean research thesis into a monograph. In March 2013, Dr Spence won a three-year NRF Postdoctoral Innovation Scholarship, and learned Kiswahili ahead of archival research in Kenya and Tanzania from April to May of that year. He has conducted archival and oral research in Singapore, Malaysia, Hong Kong, Australia, Kenya, Zanzibar, the Cayman Islands, Trinidad, and the UK.

Internationally renowned
Dr Spence is the author of two monographies, the Colonial Naval culture and British imperialism, 1922-67 and A History of the Royal Navy: Empire and Imperialism. He has been invited to present papers and chair panels at over 20 international conferences, workshops and seminars.

The NRF rating system is a benchmarking system through which individuals who exemplify the highest standards of research, as well as those demonstrating strong potential as researchers, are identified by an extensive network of South African and international peer reviewers.

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