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Locked down, but not locked out — UFS Arts thriving

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/

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

News Archive

Hearing loss a silent public health crisis in South Africa

2017-03-27

Dr Magteld Smith engages on the topic of hearing loss
and how it coincides with the commemoration of
World Hearing awareness during the month of March.
Photo: Oteng Mpete

Communication is a principal challenge for people with hearing loss. It can be difficult to negotiate everyday interactions, whether in the workplace, on the street, in classrooms, courts, during consultations with health professionals, or even when contacting the police. The World Health Organisation’s (WHO) World Hearing Day is an annual advocacy event held each year on 3 March to raise awareness and promote ear and hearing care across the world. In many countries this awareness campaign usually starts on 3 March but many continue to create awareness for the full month of March.

Hearing loss is a global reality
According to Dr Magteld Smith, a researcher at the University of the Free State (UFS) School of Medicine’s Department of Otorhinolaryngology, unaddressed hearing loss poses a high cost for the economy globally and has a significant impact on the lives of those affected. Interventions to address hearing loss are available in South Africa but are not accessible or affordable for most citizens. This is partly because not only persons with hearing loss but also people with disabilities experience barriers in accessing services that many of us take for granted, including health, education, employment, and transport as well as information. These difficulties are exacerbated in less-advantaged communities.

“WHO estimates that there are more than 360 million persons with hearing loss globally. The statistics in South Africa are unreliable due to the different definitions used by Statistics South Africa and the absence of training of the officials who conduct and collect statistics concerning hearing loss in South Africa,” says Dr Smith.

According to Dr Smith, analysis from retrospective studies reflects that about 17 out of 1 000 infants are born daily in South Africa with severe to profound hearing loss. However, Dr Smith states that the number could be higher because of late diagnosis, high levels of undiagnosed and untreated hearing loss. This excludes young adults, adults and the elderly as well as children with acquired (become deaf after birth) hearing loss.

Crisis that needs urgent intervention
Dr Smith says hearing loss is an emergency which the South African government fails to prioritise. She says that research published confirms that the risk compounding the projected increase in hearing loss that comes with an ageing population. This is a looming and silent public-health crisis.
She believes that the government should take urgent action to align research-spending with the current and projected size and impact of hearing loss. It should also collaborate across related conditions, such as vision, neurodegenerative diseases and neurological conditions. Furthermore, the government needs, and is obligated, to deliver more accessible and integrated services and develop quality standards that take account of the whole pathway – linking public health, clinical and social needs.

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