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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

Dr Johann Rossouw receives 2015 ATKV SA Academy Award for his work in Philosophy
2015-12-18

Description: Dr Johann Rossouw  Tags: Dr Johann Rossouw

Dr Johann Rossouw

Dr Johann Rossouw, Senior Lecturer in the Department of Philosophy at the University of the Free State, was recently selected as one on the winners of the 2015 ATKV SA (Afrikaanse Taal- en Kultuurvereniging) Academy Awards. Dr Rossouw was one of only six winners that were honoured nationwide for their academic articles.

ATKV SA Academy Award

This award has immense value for Dr Rossouw, since “it’s proof that original endemic thinking is still valid today, despite the massive pressure on Afrikaans. It also undermines the parochial view that English is the only language in which thought takes place.”

The annual ATKV SA Academy Awards honours six Afrikaans articles that are published in accredited journals in a specific year. Four of the prizes are awarded for articles in the Humanities and two for articles in the Natural Sciences. The South African Academy for Science and Arts handled the selection process.

First theological-philosophical criticism on Stiegler

Dr Rossouw was honoured for two articles in the Humanities that were published on Litnet Academic. The articles deal with the theological-philosophical approaches of the first two volumes of Bernard Stiegler's influential La Technique et letemps (Technics and Time) trilogy. “Stiegler wrote the trilogy in conversation with Heidegger's Being and Time,” Dr Rossouw says. “With Heidegger claiming that the technique closes off our world, Stiegler argues that the technique helps to unlock and establish our world as a unique kind of memory in certain conditions. That is why Stiegler argues that the technique is the life lived through other means than life itself.”

The essence of Dr Rossouw's criticism against Stiegler is that he “pursues Christianity through means other than Christianity itself. To my knowledge, this is the first theological-philosophical criticism on Stiegler, and to all intents and purposes the first criticism on his work, with one or two exceptions.”

 

 

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