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The Lost Men Project (Grahamstown) , 2004. Digital program, touch screen, headphones, pedestal. Dimensions variable. Edition 3 The Art of Reading from William Kentridge to Wikipedia , Meermanno Museum, The Hague, The Netherlands, 18 November 2017 – 5 March 2018 This exhibition organised by The House of the Book (a collaboration of Museum Meermanno and the National Library of the Netherlands). The exhibition will elucidate the reading process. The six rooms each have a theme that is linked to the physical process of reading: leafing through, touching, looking, remembering, focussing and reacting. Most of our senses are involved in the process, as are many areas in the brain. Questions about the process will help the visitor formulate some answers: How does the reading brain work? What types of reading should be distinguished? How to deal with multi media books – sound, image, typography? How to experience works on paper versus digitised works? The show unites works that are multi-sensorial or pluriform (video/paper, sound/image etc). There will be no books in cases, all works can be touched by the visitors. Selected artists: Scott Blake, Amaranth Borsuk & Brad Bouse, Jan Dirk van der Burg, Marinus van Dijke, Paul Emmanuel, Eyejack, Juan Fontanive, Carina Hesper, Mirabelle Jones, William Kentridge, Kraak & Smaak, Michael Mandiberg, Simon Morris, Didier Mutel, Rick Myers, Heidi Neilson, Joyce Overheul, Sebastian Schmieg & Silvio Lorusso, Rebecca Sutherland, Elisabeth Tonnard. The Lost Men Project, Grahamstown (2006) was selected by the curators for this exhibition. Related content Exhibition ‘Navigating the Bookscape: Artists’ Books and the Digital Interface’, 25 – 30 September 2006 Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←Previous Next→

The Lost Men , 2003. Copperplate mezzotint etching on 300 gsm. Somerset paper. Image 16 cm diameter. Edition 30 The Ampersand Foundation , Warren Siebrits Modern and Contemporary Art, Johannesburg, South Africa, 13 November – 13 December 2003 The Ampersand Foundation is a non-profit, equal-opportunity Trust promoting the fine arts in South Africa. The foundation recognises and rewards excellence and encourages potential in the arts by granting fellowships to artists. This fellowship includes a residency programme in New York, the first of which was awarded to Paul Emmanuel in March 1997. This was the second exhibition of works by Ampersand Foundation Fellows and included The Lost Men (2003) Related content Exhibition ‘After-image’, 5 – 29 April 2005 ←Previous Next→

Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec 5th Sardinia International Film Festival , Sassari, Sardinia, Italy, 22 – 26 June 2010 The final day of the Sardinia Film Festival 2010 , opened with the last projections of short films in competition. From 17.30 to 20.00, were screened the works in Fiction, Animation, Documentary and V-Art/Experimental categories. The ceremony began at 21.15 in the courtyard of the Quadrangle. Prizes were awarded by a jury of experts composed by Lorenzo Saglio, president of New Circle Cinema, Piero Livi, dean of Sardinian directors, Maisetti Massimo, president of the National Federation of Film Clubs, Adriana Casu, cultural worker, Marino Canzoneri, Head Humane Society Iglesias, and Nando Scanu. Awarded the best works in Animation, Italy Fiction, Fiction International, Documentary, V-Art/Experimental, Showcase Sardinia, Fedic Gold and Fedic School categories. 3SAI: A Rite of Passage (2008) was officially selected for this festival and won the Best Experimental Film award. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

This Privacy Notice, together with our Data Protection Policy, explains how Paul Emmanuel Studio (“Paul Emmanuel Studio”, “we”, “us”) uses personal data relating to Suppliers, Customers, Collectors, and Contacts (“users”, “you”). Paul Emmanuel Studio is a data controller for the purposes of the Protection of Personal Information Act 4 of 2013. We also act as a data processor for limited information received from third-party associate galleries. The Sales Agreement between these galleries and individual Collectors specifies what data is transferred and for what purposes. We uphold all rights of the data subject, including the rights to information, access, rectification, erasure, restriction of processing, data portability, withdrawal of consent, filing a complaint, and objecting to automated decision-making and profiling. 1. INFORMATION WE MAY COLLECT ABOUT YOU Categories of personal data: data relating to Suppliers data relating to Customers data relating to Collectors data relating to Contacts We may collect and process the following information: Contact details Name and address Bank details (only when required for payment to fulfil contractual or statutory obligations) Correspondence between you and the Studio 2. WHERE WE STORE YOUR PERSONAL DATA Once received, your information is stored in secure electronic and physical records. We use strict procedures and security features to reduce the risk of unauthorised access. However, the transmission of information over the internet—particularly via email—is not completely secure, and we cannot guarantee absolute security of data sent to us electronically. Transactional information relating to the development of works, exhibitions, or projects may be archived. At our discretion, the Studio may grant supervised, limited access to these archives to academics or researchers, who may only view restricted or anonymised data directly related to a specific work, project, or exhibition. 3. HOW WE USE YOUR INFORMATION We may use the information we hold about you to: administer accounts and studio operations; provide information or communications you have requested; respond to your enquiries; fulfil contractual obligations between you and the Studio; ensure compliance with our Data Protection Policy; meet legal obligations or protect/enforce legal rights; support any sale or transfer of our business or assets; maintain archives or provenance records. 4. LAWFUL BASIS FOR PROCESSING We process personal data on the lawful basis of legitimate interests. Suppliers and Customers: Data is processed to fulfil obligations under contracts or terms of engagement. Collectors: Data is processed for accounting purposes. Limited data may be archived for provenance. Some Collector data may be provided to us by partner galleries. Contacts: Data is given directly and with consent. Communications are based on your expressed interest in receiving them. 5. DATA RETENTION POLICY We retain data in line with market-standard retention practices, based on the original purpose of collection and the necessity of ongoing storage. Suppliers and Customers: Data is retained for the duration of the contract or engagement, plus six years. Data for individuals who work with us regularly or who must remain reachable for care and maintenance of works may be retained longer, depending on project needs. Collectors: Data is initially held for accounting purposes and then partially purged. Minimal data may be archived for provenance when necessary, based on mutual interests and subject to regular review. Contacts: Information is retained only for as long as the relationship is active or there remains a reasonable likelihood of future engagement. 6. MARKETING COMMUNICATIONS The Studio may send a limited number of email or postal communications to individuals who have asked to receive notifications about events, exhibitions, or publications. If you wish to stop receiving these communications, you may notify us at any time using the contact details provided in section 10. 7. PROFILING AND AUTOMATED DECISION MAKING We do not conduct profiling or automated decision-making. 8. DISCLOSURE OF YOUR INFORMATION We may disclose your personal data to third parties where necessary for the purposes described in sections 2 and 3, including: associated companies; academics and researchers; service providers and professional advisers; prospective purchasers of our business or assets; other third parties as required or permitted by law. 9. CHANGES TO THIS PRIVACY NOTICE We may update this Privacy Notice from time to time. Last updated: 30/11/25 10. CONTACT DETAILS If you wish to correct information we hold about you, or if you have any questions about this Privacy Notice, please contact us at studio@paulemmanuel.net . We will respond as promptly as possible.

Rough collar (detail), 2018, hand incised, perforated carbon paper, carbon residue, perspex display case, wooden plinth, 45 x 40 x 40 cm Turbine Art Fair 2018 , Art Source South Africa Booth GH4, Turbine Hall, Johannesburg, South Africa, 12 – 15 July 2018 Turbine Art Fair is a platform for galleries, artists, curators and other art organisations to promote emerging and established talents in an accessible and enjoyable way. In doing this the fair aims to promote new work and talent and to create a new art audience and collector base. Rough Collar (2018), The Lost Men France IV (2014) and The Lost Men I (2003) were exhibited by Art Source South Africa. Related content Exhibition ‘Substance of Shadows’, 11 September – 2 October 2021 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 Exhibition ‘After-image’, 5 – 29 April 2005 Publication ‘After-image’, 2004 ←Previous Next→

← 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 After-image , Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa, 5 – 29 April 2005 The third 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 Transitions , Rhodes University Alumni Gallery, Albany History Museum, National Arts Festival, Makhanda (formerly known as Grahamstown), Eastern Cape, South Africa, 2 – 11 June 2009 Transitions documents shifting male identity. This was the fifth 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 , 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→