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Paul Emmanuel RISING-FALLING (2021) Louis Botha Monument, Union Buildings, Pretoria, South Africa Rising-falling, 2021, Single-channel, high-definition video, stereo soundtrack, 3 min 45 sec Rising-falling , General Louis Botha monument, Union Buildings, Pretoria, South Africa 15 June 2021 On 15 June 2021, the day before South Africa's Youth Day commemoration, Emmanuel's existing video work ‘Remember-dismember’ (2015) was projected publicly onto the pedestal of the equestrian monument to General Louis Botha at the Union Buildings, Pretoria, South Africa. The intervention was documented live by Latitudes Online and simultaneously recorded on video to create a video artwork. This video artwork premiered on his solo exhibition ‘Substance of Shadows’ installed at the University of Johannesburg Art Gallery in September 2021. Supported by Diversity Art Forum and The Johannesburg Institute for Advanced Study. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014 Counter-memorial ‘The Lost Men Mozambique’, Catembe Ferry Jetty, Maputo, Mozambique, 24 April – 12 May, 2007 Counter-memorial ‘The Lost Men Grahamstown’, 1820 Settler’s National Monument, Makhanda, South Africa, 1 – 10 July, 2004

Paul Emmanuel THE LOST MEN (2009) Sylt Foundation, Rantum, Sylt Island, Germany A South African on Sylt, 2009, Deutsche Welle TV, Berlin, Germany, 6 min 28 sec The Lost Men , Sylt Foundation, Rantum, Sylt Island, Germany July – September 2009 Emmanuel was invited to the Sylt Foundation as an artist-in-residence from 26 May to 26 June 2009. The Sylt Foundation is located on the island of Sylt in the North Sea, off the coast of Germany. During this residency, the existing memorial installations of ‘The Lost Men Grahamstown’ (2004) and ‘The Lost Men Mozambique’ (2007) were installed on the island, to be seen by visitors to the Meerkabarett Cultural Festival, which takes place annually from 6 July to 23 August 2009. Related Content Counter-memorial ‘The Lost Men Grahamstown’, 2004 Counter-memorial ‘The Lost Men Mozambique’ 2007 Counter-memorial ‘The Lost Men France’, 2014

Paul Emmanuel TRANSITIONS (2009) William Humphreys Art Gallery, Kimberley, Northern Cape, South Africa Transitions 4 (detail), 2007. Original drawing hand-incised into exposed, colour photographic paper, 78 x 305 cm. Spier Collection. Courtesy of Art Source South Africa Transitions , William Humphreys Art Gallery, Kimberley, Northern Cape province, South Africa 15 April – 15 May 2009 ‘Transitions’ documents shifting male identity. This was the 3rd 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

Paul Emmanuel IMPERMANENCE (2018) Fried Contemporary Gallery, Pretoria, Gauteng, South Africa Remember-dismember , 2015, s ingle-channel, high-definition video, stereo soundtrack, 3 min 45 sec Impermanence , Fried Contemporary Gallery, Pretoria, Gauteng, South Africa 8 March – 7 April 2018 A solo exhibition installed in Rooms 1 and 2 of Fried Contemporary Gallery. Emmanuel was invited by the gallery to show a selection of works dated from 2004 to 2015, curated by Johan Thom and Shenaz Mahomed. Editioned photographic works from ‘The Lost Men’ (2004 –) were selected for this exhibition along with lithographic works from the ‘Transitions Multiples’ (2009 – 11) series and the video ‘Remember-dismember’ (2015). Presented in association with Art Source South Africa. Related content Publication ‘Paul Emmanuel: Impermanence’, Fried Contemporary Gallery, Pretoria, South Africa, text by Johan Thom, 2018, PDF Exhibition ‘Transitions Multiples’, Goya Contemporary Gallery, Baltimore, Maryland, USA, 2011 Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014 Counter-memorial ‘The Lost Men Mozambique’, Catembe Ferry Jetty, Maputo, Mozambique, 24 April – 12 May, 2007 Counter-memorial ‘The Lost Men Grahamstown’, 1820 Settler’s National Monument, Makhanda, South Africa, 1 – 10 July, 2004

Paul Emmanuel AFTER-IMAGE (2005) Constitution Hill, Johannesburg, South Africa The Lost Men Grahamstown 2 , 2004. Pigment-printed photograph on 300 gsm photorag paper. 100 x 203,5 cm. Edition 5 After-image, The Old Fort, Constitution Hill, Johannesburg, Gauteng, South Africa 17 January – 10 February 2005 The second showing of this touring solo exhibition comprising early etchings and lithographs, photographs from ‘The Lost Men Grahamstown’ (2004) and a major drawing also titled ‘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 essay by Julia Charlton was printed and published by US Art Gallery. Related Content Publication ‘Paul Emmanuel: After-image’, US Art Gallery, 2004 Interview ‘Paul Emmanuel’, MNet TV, Kyknet, (Afrikaans & English), South Africa, 2004 Exhibition ‘After-image’, US Art Gallery, 2004

Paul Emmanuel TRANSITIONS (2010) Skylight Gallery, National Museum of African Art, Smithsonian Institution, Washington DC, USA Exhibition view of Transitions , National Museum of African Art, Smithsonian Institution, 2010 Transitions , National Museum of African Art, Smithsonian Institution, Washington DC, USA 12 May – 22 August 2010 ‘Transitions’ documents shifting male identity. This was the 7th 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. 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 News story Voice of America TV News, 2010 Publication ‘Transitions’, Art Source South Africa, 2008 Publication ‘Paul Emmanuel: Transitions’, Smithsonian National Museum for African Art, 2010 Short film ‘3SAI: A Rite of Passage’, 2008 Documentary ‘How the Transitions Drawings Were Made’, 2011 Exhibition ‘Transitions’, Apartheid Museum, 2008

Paul Emmanuel TRANSITIONS (2011) Rosenberg Gallery, Maryland Institute College of Art, Baltimore, USA Exhibition view of Transitions , Rosenberg Gallery, Brown Center, Maryland Institute College of Art (MICA), Baltimore, USA, 9 September – 2 October 2011 Transitions , Rosenberg Gallery, Brown Center, Maryland Institute College of Art, Baltimore, Maryland, USA 9 September – 2 October 2011 ‘Transitions’ documents shifting male identity. This was the 9th 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 Documentary How the ‘Transitions’ Drawings were Made, 2011, video 2 min 42 sec Artist’s talk Paul Emmanuel Talks to MICA (2011), Falvey Hall, Brown Centre, Maryland Institute College of Art, Baltimore, USA, (Video 34 min 43 sec) Radio interview Marc Steiner Chats to Paul Emmanuel, 2011, The Marc Steiner Show, WEAA 88.9 FM, Baltimore, USA, (Podcast 33 mins) Exhibition ‘Transitions Multiples’, Goya Contemporary Gallery, 2011 Film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, Apartheid Museum, 2008 Publication ‘Transitions’, Art Source South Africa, 2008

Paul Emmanuel AFTER-IMAGE (2005) US Art Gallery, Stellenbosch, Western Cape, South Africa Twelve Phases of Orange , 2002 Manière noire stone lithograph watercolour pigments on 285 gsm Fabriano Rosaspina Avorio paper, 56 x 76 cm. Edition 35 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 titled ‘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 essay by Julia Charlton was printed and published by US Art Gallery. Related Content Publication ‘Paul Emmanuel: After-image’, US Art Gallery, 2004 Interview ‘Paul Emmanuel’, MNet TV, Kyknet, (Afrikaans & English), South Africa, 2004

Interviews and documentaries about works by Paul Emmanuel Commencement speech and honorary doctorate, Montserrat College of Art (2025) (Video 18 min 34 sec) Paul Emmanuel Interview 4/22 (2024) Mount Holyoke College, South Hadley, Massachusetts, USA (Video 20 min) Walkabout: Paul Emmanuel and Michelle Constant (2021), Moving Cube, University of Johannesburg Art Gallery, Johannesburg, South Africa (Video 1 hr) Museum Moments: University of Johannesburg Art Collection (2021), Strauss & Co, Johannesburg, South Africa, (Video 1 hr 15 min 6 sec) The Making of Rising-falling (2021), Moving Cube, University of Johannesburg Art Gallery, Johannesburg, South Africa, (Video 3 min 53 sec) Paul Emmanuel – Art Exhibition – Substance of Shadows (2021), Hellenic Radio, Spotify AB, Johannesburg, South Africa, (Podcast 16 min 10 sec) Paul Emmanuel: Veil 1954 (2021), Moving Cube, University of Johannesburg Art Gallery, Johannesburg, South Africa, (Video 8 min 1 sec) Artist’s Talk by Paul Emmanuel on 8 September (2020) SARChi Chair: South African Art and Visual Culture, University of Johannesburg, South Africa , (Video 1hr 22 min 6 sec) Men and Monuments: A Conversation with Paul Emmanuel (2020) Wits Art Museum, Johannesburg, South Africa, (Video 1 hr) Hatefree Talk: Paul Emmauel (2020) HateFree Culture, Prague, Czech Republic, (Video 1 hr 21 sec) Cure: Paul Emmanuel (2020), UJ Arts and Culture, University of Johannesburg, South Africa, (Video 2 min 44 sec) Paul Emmanuel: Remnants (2017) Oliewenhuis Art Museum, Bloemfontein, South Africa, (Video 1 min 30 sec) The Weekend Edition (2016), SABC TV, Johannesburg, South Africa, (Video 6 min) Remnants Opening Speech by André Croucamp (2015) Freedom Park, Pretoria, South Africa, (Video 16 min 10 sec) Paul Emmanuel on Lost Men Project (2015) SABC TV Morning Live, Johannesburg, South Africa, (Video 6 min 17 sec) Paul Emmanuel Acknowledges Soldiers Who Are Forgotten Through Art (2014) SABC TV Morning Live, Johannesburg, South Africa, (Video 4 min 30 sec) Remembering a Counter-memorial: Making The Lost Men France (2014) Paul Emmanuel studio, Johannesburg, South Africa, (Video 10 min 33 sec) The Lost Men France (Promotional video) (2014), Paul Emmanuel studio, Johannesburg, South Africa, (Video 1 min 47 sec) A Quest for The Lost Men France (2014), Tshwane University of Technology, Pretoria & Institut Français, Johannesburg, South Africa, (Video 27 min 52 sec) Paul Emmanuel Talks to MICA (2011), Falvey Hall, Brown Centre, Maryland Institute College of Art, Baltimore, USA, (Video 34 min 43 sec) Marc Steiner Chats to Paul Emmanuel (2011) The Marc Steiner Show, WEAA 88.9 FM, Baltimore, USA, (Podcast 33 mins) How the Transitions Multiples Lithographs were Made (2011) Vimeo, (Video 4 min 48 sec) How the Transitions Drawings were Made (2011), Vimeo, (Video 2 min 42 sec) Paul Emmanuel South African Artist (2010) TRANSITIONS at the Smithsonian National Museum of African Art, Washington DC, USA Voice of America TV news (Video 3 min 6 sec) Transitions at Oliewenhuis Art Museum (2009), SABC News channel 3 (Afrikaans bulletin), South Africa, (Video 1 min 48 sec)

Paul Emmanuel AFTER-IMAGE (2005) Villa Arcadia, Johannesburg, Gauteng, South Africa After-image (detail), 2004. Original drawing hand-incised into exposed, colour photographic paper, 200 x 480 cm. Hollard Art Collection. Photographed by John Hodgkiss After-image , The Gallery Hall, Villa Arcadia, Hollard House, Johannesburg, Gauteng, South Africa 16 April – 15 May 2005 The fourth 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 essay by Julia Charlton was printed and published by US Art Gallery. Related Content Publication ‘Paul Emmanuel: After-image’, US Art Gallery, 2004 Interview ‘Paul Emmanuel’, MNet TV, Kyknet, (Afrikaans & English), South Africa, 2004 Exhibition ‘After-image’, US Art Gallery, 2004

Paul Emmanuel THE LOST MEN FRANCE (2014) First World War Centenary, Thiepval Memorial to the Missing of the Somme, Picardy, France Installation views of The Lost Men France , WWI Centenary, Thiepval Memorial to the Missing of the Somme, Picardy, northern France, 1 July – 1 October 2014 The Lost Men France , World War One Centenary, Thiepval Memorial to the Missing of the Somme, Picardy, Northern France 1 July – 1 October 2014 ‘The Lost Men France’ was a once-only counter-memorial and an official feature of the 2014 – 2018 First World War Centenary. It was temporarily installed adjacent to the Thiepval Memorial to the Missing of the Somme, Picardy, Northern France as an intervention in the Somme Circuit of Remembrance. In the battles that were fought on the Western Front between 1914 and 1918, thousands of South African servicemen took part and died alongside the Allies but white and black South African men were valourised differently. ‘The Lost Men France’ depicted these names alongside those of the Allies and Germans. Supported by La Mission du Centenaire de la Première Guerre Mondiale, Paris, Institut Français Paris / Johannesburg and The National Arts Council of South Africa. Related Content Artist talk Institut Français and Tshwane University of Technology, 2012 Documentary ‘Remembering a Counter-Memorial: Making The Lost Men France’, 2014 Interview SABC TV Morning Live, Johannesburg, 2014 Counter-memorial ‘The Lost Men Mozambique’ 2007 Counter-memorial ‘The Lost Men Grahamstown’, 2004

Paul Emmanuel REMNANTS (2016) 808 Gallery, Boston University, Massachusetts, USA Remnants , 2016, 808 Gallery, Boston University, Massachusetts, USA 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. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014 Publication ‘Remnants’, 2016. Text by Pamela Allara, Boston. Boston University, USA. Bulletin sheet, 4 pp, 280 x 176 mm. ISBN n/a. Out of print