Transitions Multiples, a 2011 exhibition by Paul Emmanuel at Goya Contemporary Gallery, Baltimore, Maryland, USA. Transitions Multiples , Goya Contemporary, Goya Girl Press, Baltimore, Maryland, USA 8 September – 5 November 2011 ‘Transitions Multiples’ formed part of Emmanuel’s ‘Transitions’ project in which he explores the way society constructs perceptions and performances of a masculine identity. The exhibition comprised a suite of hand printed, hand coloured 'manière-noire' stone lithographs as well as the short film ‘3SAI: A Rite of Passage’ (2008). Art Source South Africa are managers of Emmanuel's ‘Transitions’ project. Related Content Publication ‘Paull Emmanuel: Transitions Multiples’, Goya Contemporary, 2011 Documentary ‘How the Transitions Multiples Lithographs were Made’, 2011 Exhibition ‘Transitions Multiples’, FNB Joburg Art Fair, 2011 Exhibition ‘Transitions’, Maryland Institute College of Art, 2011 Film ‘3SAI: A Rite of Passage’, 2008

Substance of Shadows, a 2021 solo exhibition by Paul Emmanuel at the University of Johannesburg Art Gallery, Gauteng, South Africa. Carbon Dad 2017 , 2020, hand incised, perforated carbon paper, carbon residue, perspex rail, 110 x 440 cm Substance of Shadows , University of Johannesburg Art Gallery, South Africa 11 September – 2 October 2021 Inspired by the Human Shadow Etched in Stone at the Hiroshima Peace Memorial Museum, Hiroshima, Japan, this solo exhibition tracks Emmanuel's continued personal fascination with the tenuous nature of memory. The only certainty is change. We try to hold onto memories in the hope of maintaining some coherence and continuity, but our memories are largely inventions and they too change over time. We commemorate our invented pasts in an attempt to fix them in the present. This exhibition is a collection of works scratched by hand into delicate carbon 'paper' or film. These carbon 'shadows' are all metaphors for carbon copies and products of one of life's greatest narratives – the carbon cycle. Carbon is an element in nature. Related Content Intervention ‘Rising-falling’, General Louis Botha monument, Pretoria, South Africa, 15 June 2021 Publication ‘Substance of Shadows’, texts by Mark Auslander, Ellen Schattschneider and Paul Emmanuel, PDF Exhibition ‘Transitions’, National Museum of African Art, Smithsonian Institution, Washington DC, USA, 2010

Doing Hair: Art and Hair in Africa — archive entry documenting Paul Emmanuel’s participation and work. Installation view of 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec Doing Hair: Art and Hair in Africa , Wits Art Museum, Johannesburg, South Africa, 20 August – 2 November 2014 This exhibition celebrates the creativity, individuality and innovation in hairstyling and art, in South Africa, and in other parts of the African continent. The exhibition is sponsored by Black Like Me, South Africa’s iconic hair care company. This partnership between WAM and Black Like Me, the company who revolutionised the South African hair care industry in the 1980s, makes possible an exciting and highly topical exhibition. The political, social, cultural and economic implications of hair and hairdressing are explored in the exhibition. It also looks at how hair communicates information about age, religious affiliation, social status, political ideologies and aspirations. Extraordinary objects that are used to protect, style and adorn hair, historical and contemporary artworks, barbershop posters, films and installations from Wits Art Museum and other public and private collections are included. Emmanuel's short film 3SAI: A Rite of Passage (2008) was selected by the curators for this exhibition. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Battleground — archive entry documenting Paul Emmanuel’s participation and work. Banner from The Lost Men Grahamstown , 2004. Pigment-printed photograph on voile. 104 x 177 cm. Courtesy of Grahamstown National Arts Festival and Art Source South Africa Battleground , Standard Bank Gallery, Albany History Museum, National Arts Festival, Grahamstown, South Africa, 2 – 12 July 2015 Curator Michael Godby’s exhibition is a response to the challenge of showing Charles Bell’s 60 drawings of the War of the Axe in Grahamstown, the very territory that was fought over during the Wars of Dispossession, and to viewers, most of whom would have been constructed as the ‘enemy’ in Bell’s account of the war. The challenge is met in two ways. First, the drawings themselves are contextualised in a series of installations. Bell had been in Grahamstown before the war broke out adjudicating land claims relating to the 1820 settlers: display of contemporary surveying equipment and relevant maps will underline the point that first and foremost, this war was about the colonial acquisition of land. Similarly, Bell’s image of the Xhosa represents a significant change from earlier idealised views and is derived in large measure from contemporary racial theories that can be illustrated from books of the time. Such prejudices are also apparent in many of the newspaper reports of the war which will be reproduced as text panels in the exhibition. And installations of muskets and swords from the period will make the suggestion that Bell’s drawings were every bit as much an offensive weapon as the actual instruments of war. The second part of the exhibition comprises recent representations of the War of the Axe and related Wars of Dispossession. These include new versions of historical events, by both black and white artists, that give a very different account of the wars. Other works isolate the pictorial language of colonial artists, notably steel engraving and perspective, to show how these elements are implicated in the colonial project. Other works again challenge the construction of masculinity inherent in Bell’s, and others’ accounts of the wars. And several works lament the tragic waste of life that occurred in these wars. A voile panel from The Lost Men Grahamstown (2004) was selected for this exhibition. Related content Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←Previous Next→

Wounds and Relics — archive entry documenting Paul Emmanuel’s participation and work. Scar , (detail), 2015. Hand-printed, Chine-collé photogravure etching on 300 gsm Hahnemühle paper. 40 x 92,5 cm. Edition 8 Wounds and Relics , Gallery 2, Johannesburg, South Africa, 1 – 22 September 2018 The exhibiting artists explore the paradox of simultaneously forgetting and remembering the social scars of violent conflicts and how we carry these with us, whether as traces or wounds, or as recovered objects from the past. Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 Documentary video ‘Remembering a Counter-Memorial: Making The Lost Men France’, 2014 ←Previous Next→

Transitions, a 2009 solo exhibition by Paul Emmanuel at Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa. Exhibition view of Transitions , Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa, 2009 Transitions , Oliewenhuis Art Museum, Bloemfontein, Free State province, South Africa 5 February – 8 April 2009 ‘Transitions’ documents shifting male identity. This was the 2nd showing of this touring solo museum exhibition comprising an installation of 5 original drawings, courtesy of the Spier Contemporary Collection and the short film ‘3SAI: A Rite of Passage’ (2008). ‘Transitions’ premiered at The Apartheid Museum, Johannesburg South Africa in 2008 and debuted internationally at the Smithsonian National Museum of African Art, Washington DC, USA in 2010. Art Source South Africa are managers of Emmanuel's ‘Transitions’ project. Artists statement In late 2004 I was exploring how the military influenced and perpetuated notions of masculinity in South Africa. One morning, while thinking about moments of change, I decided to photograph an actual military recruit head shaving while it was happening – to witness to an unfolding drama. After some research, I discovered that there were only two remaining military bases in South Africa which still perform this obligatory ‘rite of passage’ on their premises, one in Oudtshoorn and the other, Third South African Infantry Battalion (3SAI) in Kimberley. I phoned the Kimberley base, spoke to the Officer-in-Command and arranged a visit to photograph head shavings from the January 2005 intake. I remember feeling apprehensive of what I would find. I did not do military service. I only had references to military experiences told to me by my older brother and friends, who described their head shaving experiences of the apartheid military regime of the 1980s – their stories of feeling dehumanised, lots of shouting, indifference, bigotry and fear. Instead, I found a very different setting ... quiet lawns with well tended flower beds full of roses. Lines of recruits waiting patiently. No shouting. No authoritarianism. No evidence of the violent breaking down of the human spirit. Compared with the horror stories related to South Africa’s past, the equanimity of the scene was arresting. I was spellbound. These liminal moments of transition, when a young man either voluntarily – or is forced to – let go of one identity and take on a new identity as State Property with an assigned Force Number, prompted me to ask many questions: What was I actually witnessing? What is a “Rite of Passage” and how have similar “rituals” helped to form and perpetuate identities and belief systems throughout history? Why was I so powerfully drawn to and transfixed by these dramatic spectacles of subtle change and moments of suspended possibility and impossibility? And so began an intensely reflexive outward and inward journey, in and beyond my studio, which was to last four long years ... Related Content Publication ‘Transitions’, Art Source South Africa, 2008 Short film ‘3SAI: A Rite of Passage’, 2008 Documentary ‘How the Transitions Drawings Were Made’, 2011 Exhibition ‘Transitions’, Apartheid Museum, 2008 Exhibition ‘Transitions’, Smithsonian National Museum of African Art, 2010

← Back Transitions , Spier Old Wine Cellar Gallery, Spier Estate, Stellenbosch, Western Cape, South Africa, 26 November 2009 – 15 February 2010 25 February – 31 March 2010 Transitions documents shifting male identity. This was the sixth showing of this touring solo museum exhibition comprising an installation of 5 original drawings, courtesy of the Spier Contemporary Collection and the short film 3SAI: A Rite of Passage (2008). Transitions premiered at The Apartheid Museum, Johannesburg South Africa in 2008 and debuted internationally at the Smithsonian National Museum of African Art, Washington DC, USA in 2010. A full-colour publication with writings by André Croucamp and Robyn Sassen was published by project managers, Art Source South Africa. Related content ←Previous Next→

← Back Transitions Multiples , FNB Joburg Art Fair Special Project: Featured Artist, FNB Joburg Art Fair in association with Gallery AOP, Sandton Convention Centre, Johannesburg, South Africa, 23 – 25 September 2011 Transitions Multiples formed part of Emmanuel’s Transitions project in which he explores the way society constructs perceptions and performances of a masculine identity. The exhibition comprised a suite of hand printed, hand coloured ‘manière-noire’ stone lithographs as well as the short film 3SAI: A Rite of Passage (2008). The show was presented by FNB Joburg Art Fair in association with Gallery AOP. A 4 page publication was produced and published by Gallery AOP and project managers, Art Source South Africa. Related content ←Previous Next→

← Back Remnants , Freedom Park Museum, Pretoria, Gauteng, South Africa, 25 June – 31 July 2015 In WWI, white South African servicemen fell alongside the Allies fighting against the Germans. Their black comrades, who were not allowed to carry weapons, died as labourers in camps located on the English Channel. The names of black servicemen who died were left off memorials, while those who survived were denied medals to honour them. In Remnants , Emmanuel presented the remains of the silk banners from The Lost Men France (2014) counter-memorial and the casts used to press the names of fallen servicemen into his skin. The video Remembering a Counter-memorial documented the process. Photographs of previous installations in The Lost Men series, The Lost Men Grahamstown (2004) and The Lost Men Mozambique (2007) were also on view. Project managed by Art Source South Africa. Related content ←Previous Next→

← Back After-image , University of Stellenbosch Art Gallery, Stellenbosch, Western Cape, South Africa, 3 – 26 August 2004 The first showing of this touring solo exhibition comprising early etchings and lithographs, photographs from The Lost Men Grahamstown (2004) and a major drawing also entitled After-image (2004). This drawing is permanently housed in the main reception room of Villa Arcadia as part of the Hollard Collection of South African Contemporary Art. After-image was exhibited in South Africa at the US Art Gallery, Stellenbosch, Western Cape, The Old Fort at Constitution Hill, Johannesburg, Gauteng, Oliewenhuis Art Museum, Bloemfontein, Free State and Villa Arcadia, Hollard House, Johannesburg, Gauteng. An illustrated, colour catalogue with text by Julia Charlton was printed and published by US Art Gallery. Related content ←Previous Next→

← Back Remnants , 808 Gallery, Boston University, Massachusetts, USA, 28 January – 20 March 2016 This solo, museum exhibition features artworks related to Emmanuel's counter-memorial, The Lost Men France , which was installed adjacent to the Thiepval Memorial to the Missing of the Somme in 2014. The Lost Men France , the 3rd in his The Lost Men series, comprised 5 large silk banners depicting the artist's body bearing names of WWI servicemen from all nations pressed into his skin. Paul Emmanuel: Remnants underscores concepts of loss, memory and memorialisation in an installation centred around the ‘remnants’ of The Lost Men France banners, torn and battered by the winds of the Somme. The banners are complemented by videos, drawings, prints and plaster casts of the artist's body. An artist talk and panel discussion were presented at Boston University in conjunction with this exhibition and a 4 page publication was produced and published by Boston University Galleries. Related content ←Previous Next→

← Back Transitions , National Museum of African Art, Smithsonian Institution, Washington DC, USA, 12 May – 22 August 2010 Transitions documents shifting male identity. This was the seventh showing of this touring solo museum exhibition comprising an installation of 5 original drawings, courtesy of the Spier Contemporary Collection and the short film 3SAI: A Rite of Passage (2008). Transitions premiered at The Apartheid Museum, Johannesburg South Africa in 2008 and debuted internationally at the Smithsonian National Museum of African Art, Washington DC, USA in 2010. A full-colour publication with writings by André Croucamp and Robyn Sassen was published by project managers, Art Source South Africa. Related content ←Previous Next→