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Critical Commemorative Practices in The Lost Men France by Paul Emmanuel

  • Writer: Paul Emmanuel Studio
    Paul Emmanuel Studio
  • Nov 19
  • 2 min read

Updated: 3 days ago

New academic journal article written by Associate Professor Irene Bronner, University of Johannesburg for De Arte, Taylor and Francis. 17 November 2025.


Untethered, Paul Emmanuel, 2025, Decommissioned, model T-10, US military personnel parachute with severed suspension lines, detached harness with risers, 550 paracord, High-definition video projection, stereo soundtrack
Figure 1: Paul Emmanuel. Installation view of The Lost Men France. 1 July 2014 to 1 October 2014, on privately owned land adjacent to the Thiepval Memorial to the Missing of the Somme. Photographed by Colleen Costick, 2014. Courtesy of Paul Emmanuel.

Abstract

This article examines South African artist Paul Emmanuel’s The Lost Men France (2014), part of his ongoing Lost Men project, as a critical intervention into dominant forms of memorialisation and public art. Installed adjacent to the Thiepval Memorial to the Missing of the Somme in Picardy, France, Emmanuel’s ephemeral installation challenges the nationalist ideologies and racialised exclusions of conventional war memorials, such as the erasure of Black South African servicemen from First World War histories. Drawing on Mechtild Widrich’s concept of performative monuments and on James E. Young’s framing of the counter-monument, The Lost Men France is interpreted as a work of art that resists permanence, instead activating memory through vulnerability, absence, and embodied witnessing. This article argues that Emmanuel’s installation establishes a dialogical relationship with the Thiepval Memorial, both supplementing and unsettling its monumental authority. The installation foregrounds haunting and witnessing not as passive acts of remembrance, but as active, critical modes of engagement with the historical violence embedded in memorial forms. In doing so, it offers a reparative aesthetic grounded in fragility and contingency, proposing new forms of commemorative practice beyond the logic of state-sanctioned heroism. While #RhodesMustFall frames recent calls to decolonise public monuments, Emmanuel’s long-standing performative interventions demonstrate a prescient critique, even with their ambivalences, of how patriarchal and racialised structures shape what and who is remembered.




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International
Latitudes Online


South Africa
Les Cohn, Director, Art Source South Africa
Email: lescohn@artsourcesouthafrica.co.za

Studio

Email: studio@paulemmanuel.net

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