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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

Guidelines for diminishing the possible impact of power interruptions on academic activities at the UFS
2008-01-31

The Executive Management of the UFS resolved to attempt to manage the possible impact of power interruptions on teaching and learning proactively. Our greatest challenge is to adapt to what we cannot control at present and, as far as possible, refrain from compromising the quality of teaching and learning at the UFS.

First the following realities are important:

  • There is no clarity regarding the period of disruption. It is possible that it may last for a few months to approximately five years.
  • At present Eskom (as well as Centlec) is not giving any guarantees that the scheduled interruptions will be adhered to. It comes down to this that the power supply may be interrupted without notice, but can also be switched back on in an unpredictable manner.
  • Certain scheduled teaching-learning activities/classes, etc. may (initially) be affected very negatively, as the UFS is working according to a scheduled weekly module timetable at present.
  • During the day certain venues with natural lighting and ventilation may remain suitable for contact sessions, while towards evening venues will no longer be suitable for the presentation of classes.
  • Lecturers will have to fall back on tried and tested presentation methods not linked to electricity, without neglecting innovative technology-linked presentation methods, or will have to schedule alternative teaching-learning activities for lost teaching-learning time.

Against the background of the above-mentioned realities, we secondly request you to comply with the following guidelines as far as possible:

  1.  In addition to your module work programme, develop an alternative programme (which can, for example, among others, consist of additional lectures or a more rapid work rate) in which provision is made for a loss of at least two weeks’ class/contact time during the semester. Consult Centlec’s schedule of foreseen power interruptions for this planning.
  2. Should it appear that your class(es) will probably be disrupted seriously by the scheduled power interruptions, you should contact your dean for possible rescheduling of your timeslot and a supplementary timetable. A prescheduled supplementary timetable for Friday afternoons and Saturdays and/or other suitable times will be compiled for this purpose in co-operation with faculties.
  3. The principle of equivalent educational treatment of day and evening lectures must be maintained at all times. Great sensitivity must be shown by, for instance, not only rescheduling the lectures of evening students - given specifically the sensitivity regarding language and the distribution of day and evening lectures.
  4. In the case of full-time undergraduate courses, no lectures should be cancelled beforehand, even when a power interruption is announced, as power interruptions sometimes do not take place or are of shorter duration than announced. If the power supply is interrupted, it should not be accepted that it will remain off and that subsequent lectures will not take place. Should a power interruption occur in a venue, lecturers and students must wait for at least ten minutes before the lecture is cancelled. Should natural lighting and ventilation make it possible to continue with the lecture, it should be done.
  5. Our point of departure is that no student must be able to use the power interruptions and non-presentation/cancellation of lectures as an argument for having failed modules, for poor academic performance or to negotiate for a change of examination scheduling.

Thirdly we wish to make suggestions regarding teaching and learning strategies (which can be especially useful in case of a power interruption).

  • Emphasise a greater measure of self-activity (self-initiative) on the part of students in this unpredictable environment right from the start.
  • Also emphasise the completion of assessment assignments in good time, so that students cannot use power interruptions as an excuse for late submission. Flexibility will, however, have to be maintained.
  • Place your PowerPoint presentations and any other supplementary learning materials on the web.
  • Use the opportunity to stimulate buzz groups, group work, panel discussions and peer evaluation.

Please also feel free to consult Dr Saretha Brussow, Head: Teaching, Learning and Assessment Division at the Centre for Higher Education Studies and Development, about alternative teaching, learning and assessment strategies. Phone extension x2448 or send an email to sbrussow.rd@ufs.ac.za .

Thank you for your friendly co-operation!

Prof. D. Hay
 

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