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24 February 2023 | Story Leonie Bolleurs | Photo Supplied
The Annual Final-Year Student Exhibition of the Department of Fine Arts will be open for viewing at the Johannes Stegmann Gallery until 24 March 2023.

The Annual Final-Year Student Exhibition of the Department of Fine Arts at the University of the Free State is underway.

The exhibition, which is on display in the Johannes Stegmann Gallery on the ground floor of the UFS Sasol Library on the UFS Bloemfontein Campus, will be open for viewing until 24 March 2023. The exhibition event is scheduled for 1 March 2023 at 18:00.

Angela de Jesus, Curator of the UFS Art Gallery, says the exhibition comprises artworks made by the final-year Fine Arts students in the Department of Fine Arts. “Each student works with a particular research topic or theme of their choosing.”

This year’s exhibition features the work of Courtney Micaela Parsons, Megan Johns, PK Mohanoe, and Natley Bernardo. 

Craft as art

Parsons, who is interested in the notion of craft as art, in particular transgenerational and traditional female crafts, has transformed a found bed into an art object with her work Stitching generational divides. 

“The artwork was inspired by a copper bed that belonged to three generations of women in my family. In the artwork, I explore the relationships between these generations and the bonds formed, or the lack thereof, through traditional female teachings,” she says.

The artist feels that her artwork speaks to a wish she has to forge closer ties with her maternal line and nostalgia for moments not had. “The skill of crochet is symbolic of the skills that would have been taught by older generations, which are longed for in my own life.”


Constructing art

About his works on display, named Shoot our shot, Heavy labour, Artist on site, and Artistic labour, Mohanoe says that one of the main aims of his art is to address issues regarding contentious everyday working environments and the challenges that many workers have to face in South Africa today. These include inadequate resources, a lack of occupational health and safety measures, and being poorly paid.

“I am interested in this because I personally had to overcome many challenges in having to work part time while studying full time.”

“I explore this theme and compare it to the labour involved in artmaking and the creation process,” he adds. 

Mohanoe explains that his art consists of materials that can be both building and art materials, such as wooden doors, stones, and metal. “I layer, construct, deconstruct, paint, carve, and destroy these materials and document my creative process to emphasise the intense labour that is often hidden behind a final work of art,” he says, adding that he hopes to evoke empathy and encourage appreciation towards this labour by the artist, the worker, and the labouring artist.

Visiting the exhibition, visitors can also look forward to Mohanoe’s Mosebetsi o Phethahetse (image below).

Content 1

Mohanoe’s Mosebetsi o Phethahetse

Mixed media on three deconstructed doors,

 metal chain, artists conti suit, wheelbarrow,

boots, stones, bricks & drop sheet

Dimensions vary

Water and the subconscious

Barnardo, who grew up in the Western Cape, was surrounded by water in her early years and longed for it after moving to the Free State. 

“I experienced a sense of loss, which initiated my need to return to and surround myself with water. The water is a place of nostalgia for me, where I can experience an overflow of memories and thoughts, because I relate to its fluidity and plurality,” explains Barnardo, who has on display works named Changing mid-stream, Submerged subconscious I, II, and III, Translucent memory, and Fragmentary waters I, II

She says that the transparent quality of water becomes the vehicle that purifies and clarifies her understanding of her own subconscious mind – a place of reminiscence that allows her to cross the threshold into the subconscious and brings hidden things to the surface. 

Also on display is a video installation, named Liminal Spaces between water and the subconscious. Barnardo says she blindly takes video footage underwater, which allows her to discover and rediscover things that were hidden from view. “In doing so, I allude to the latency of images within the subconscious mind,” she says. 

 

Natley Barnardo, 

Submerged

subconscious I,

digital photography, 46 x 69.5cm

Art and the self

In her art, Johns is interested in investigating how childhood trauma and abandonment can affect adult life and how it can be the source of obsessive melancholia.

Melancholia, Johns believes, is compared to the constant reopening of an old wound. “In my artwork, the artistic practice of drawing, scribbling, or scratching represents the ‘scratching open of old wounds’. The process of scratching or marring a surface is similar to how scratching a wound mars the skin. These scratches also speak of the long-lasting damage that trauma can bring to memory. I use drawings which are reminiscent of childhood mark-making and scribbling, combining them with old family photographs and objects associated with childhood play,” describes Johns.

She has on display digital drawings and collages on perspex, including Harmonious union, Mother and daughter, and Self-portrait

There are also two collections of this artist on display, named Puzzle, and Abandoned objects series.

The exhibition can also be viewed online here


News Archive

Academic delivers inaugural lecture on South African foreign policy
2007-08-06

 

In her inaugural lecture Prof. Heidi Hudson from the Department of Political Sciences, focused on the impact that Pan-Africanist sentiments have had on South Africa’s foreign policy. She also put the resulting contradictions and ambiguities into context. At her inaugural lecture were, from the left: Proff. Frederick Fourie (Rector and Vice-Chancellor of the UFS), Heidi Hudson, Engela Pretorius (Vice-Dean: Faculty of The Humanities) and Daan Wessels (Research Associate in the Department of Political Science).
Photo: Stephen Collett

Academic delivers inaugural lecture on South African foreign policy

“We are committed to full participation as an equal partner … opposed to any efforts which might seek to project South Africa as some kind of superpower on our continent. … the people of Africa share a common destiny and must therefore … address their challenges … as a united force...” (Mbeki 1998:198-199).

Prof. Heidi Hudson from the Department of Political Science referred to this statement made by president Mbeki (made at the opening of the OAU Conference of Ministers of Information in 1995) when she delivered her inaugural lecture on the topic: South African foreign policy: The politics of Pan-Africanism and pragmatism.

One of the questions she asked is: “Can the South African state deliver democracy and welfare at home while simultaneously creating a stable, rules-based African community?”

She answers: “South Africa needs to reflect more critically and honestly on the dualism inherent in its ideological assumptions regarding relations with Africa. South Africa will always be expected by some to play a leadership role in Africa. At the moment, South Africa’s desire to be liked is hampering its role as leader of the continent.”

In her lecture she highlighted the ideological underpinnings and manifestations of South Africa’s foreign policy. Throughout she alluded to the risks associated with single-mindedly following an ideologically driven foreign policy. She emphasised that domestic or national interests are the victims in this process.

Prof. Hudson offers three broad options for South Africa to consider:

  • The Predator – the selfish bully promoting South African economic interest.
  • Mr Nice Guy – the non-hegemonic partner of the African boys club, multilaterally pursuing a pivotal but not dominant role.
  • The Hegemon - South Africa driving regional integration according to its values and favouring some African countries over others, and with checks and balances by civil society.

She chooses option three of hegemony. “Politically correct research views hegemony as bad and partnership as good. This is a romanticised notion – the two are not mutually exclusive,” she said.

However, she states that there have to be prerequisites to control the exercise of power. “The promotion of a counter-hegemon, such as Nigeria, is necessary. Nigeria has been more effective in some respects than South Africa in establishing its leadership, particularly in West Africa. Also needed is that government should be checked by civil society to avoid it sinking into authoritarianism. The case of business and labour coming to an agreement over the HIV/Aids issue is a positive example which illustrates that government cannot ignore civil society. But much more needs to be done in this regard. South Africa must also be very careful in how it uses its aid and should focus potential aid and development projects more explicitly in terms of promoting political stability,” she said.

Prof. Hudson said: “It is also questionable whether Mbeki’s Afro-centrism has in fact promoted the interests of ordinary citizens across Africa. Instead, elite interests in some countries have benefited. But ultimately, the single most important cost is the damage done to the moral code and ethical principles on which the South African Constitution and democracy is founded.

“In the end we all lose out. More pragmatism and less ideology in our relations within Africa may just be what are needed,” she said.

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