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17 September 2024 | Story Jacky Tshokwe | Photo Supplied
Miné Kleynhans
Miné Kleynhans, Project Coordinator in the UFS Art Gallery, has been named the overall winner of the prestigious SASOL New Signatures Art Competition 2024.

The University of the Free State (UFS) is proud to celebrate the remarkable achievement of Miné Kleynhans (34), Project Coordinator in the UFS Art Gallery, who has been named the overall winner of the prestigious SASOL New Signatures Art Competition 2024. Kleynhans’ work, titled Meditations on Resentment, captivated judges and audiences alike with its profound conceptual depth and interactive elements.

Her winning piece, crafted from cherrywood, brass, sand, and found objects, invites participants to engage in a personal ritual with the often-suppressed emotion of resentment. This powerful sculpture uses physical interaction to reflect on the emotional weight of resentment, symbolising the process of recognising and confronting buried feelings.

In describing her work, Kleynhans says, “Meditations on Resentment imagines a ritual where participants are invited to pour sand over the surface, write their resentments, and reveal hidden brass thorns beneath, symbolising the sharpness of resentment. The process is repeated as many times as necessary, mimicking how resentment embeds itself within us over time.”

A journey of growth and recognition

Kleynhans, who holds a master’s degree in Fine Arts (cum laude) from the UFS, has had an illustrious journey, balancing her roles as an artist, project coordinator, and arts facilitator. Her artistic evolution has been shaped by various experiences, including being a lead artist in the internationally renowned It’s My City project, and her artist residency at Brashnar Creative Project in Macedonia.

Despite the challenges of finding time to create art alongside her professional commitments, Kleynhans has continued to produce thought-provoking work. "I feel my conceptual language as an artist has only recently started to emerge and solidify," she reflects. Her persistence has paid off, as winning this competition marks a defining moment in her career.

Inspiration and impact

Reflecting on the influence of mentorship in her life, Kleynhans credits the renowned artist Willem Boshoff, who served as her co-supervisor during her postgraduate studies. “The depth of his artistic thinking left a lasting impression on me,” she says, acknowledging the pivotal role he played in shaping her approach to art.

Kleynhans’ work stands out for its thoughtful attention to the emotional and physical experience of the participant. “I believe Meditations on Resentment was chosen because every aspect of the installation was carefully considered – from the sharp, hard feel of resentment to the physical experience of kneeling before the piece. It’s interactive, and that’s what I hope will engage audiences.”

Looking ahead

This win is set to open new doors for Kleynhans. Alongside the recognition and prize money, the prospect of a solo exhibition will allow her to expand her artistic horizons. She envisions creating more interactive, game-like sculptures that challenge audiences to engage both emotionally and physically with her work.

Kleynhans remains deeply grateful to her UFS support system, acknowledging the role the institution played in her development as both an artist and arts administrator. “The support from the UFS – lecturers, classmates, and colleagues – has been invaluable. The UFS Department of Fine Arts has a special energy that has nurtured many successful alumni.”

As she continues her artistic journey, Miné Kleynhans is eager to contribute to the continuous growth of contemporary South African art. Her work not only challenges societal norms but also adds a unique voice to the continuing dialogue about emotion, self-awareness, and the role of art in shaping our inner worlds.

Follow Miné Kleynhans' exciting journey and her upcoming projects in the UFS Art Gallery. Stay tuned for more updates on her future solo exhibition!

News Archive

The TRC legitimised apartheid - Mamdani
2010-07-20

 Prof. Mahmood Mamdani
“The Truth and Reconciliation Commission (TRC) accepted as legitimate the rule of law that undergirded apartheid. It defined as crime only those acts that would have been considered criminal under the laws of apartheid.”

This statement was made by the internationally acclaimed scholar, Prof. Mahmood Mamdani, when he delivered the Africa Memorial Lecture at the University of the Free State (UFS) last week on the topic: Lessons of Nuremberg and Codesa: Where do we go from here?

“According to the TRC, though crimes were committed under apartheid, apartheid itself – including the law enforced by the apartheid state – was not a crime,” he said.

He said the social justice challenges that South Africa faced today were as a result of the TRC’s failure to broaden the discussion of justice beyond political to social justice.

He said it had to go beyond “the liberal focus on bodily integrity” and acknowledge the violence that deprived the vast majority of South Africans of their means of livelihood.

“Had the TRC acknowledged pass laws and forced removals as constituting the core social violence of apartheid, as the stuff of extra-economic coercion and primitive accumulation, it would have been in a position to imagine a socio-economic order beyond a liberalised post-apartheid society,” he said.

“It would have been able to highlight the question of justice in its fullness, and not only as criminal and political, but also as social.”

He said the TRC failed to go beyond the political reconciliation achieved at Codesa and laid the foundation for a social reconciliation. “It was unable to think beyond crime and punishment,” he said.

He said it recognised as victims only individuals and not groups, and human rights violations only as violations of “the bodily integrity of an individual”; that is, only torture and murder.

“How could this be when apartheid was brazenly an ideology of group oppression and appropriation? How could the TRC make a clear-cut distinction between violence against persons and that against property when most group violence under apartheid constituted extra-economic coercion, in other words, it was against both person and property?”, he asked.

“The TRC was credible as performance, as theatre, but failed as a social project”.

Prof. Mamdani is the Director of the Institute of Social Research at the Makerere University in Kampala, Uganda; and the Herbert Lehman Professor of Government in the Department of Anthropology at the Columbia University in New York, USA.

Media Release
Issued by: Mangaliso Radebe
Assistant Director: Media Liaison
Tel: 051 401 2828
Cell: 078 460 3320
E-mail: radebemt@ufs.ac.za  
20 July 2010
 

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