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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

Paul Emmanuel TRANSITIONS MULTIPLES (2011) 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

Paul Emmanuel TRANSITIONS (2009) KZNSA Gallery, Durban, KwaZulu-Natal, South Africa Transitions 5 (detail), 2008. Original drawing hand-incised into exposed, colour photographic paper, 78 x 305 cm. Spier Collection. Courtesy of Art Source South Africa Transitions , KwaZulu-Natal Society of Arts (KZNSA Gallery), Durban, KwaZulu-Natal province, South Africa 2 – 21 June 2009 ‘Transitions’ documents shifting male identity. This was the 4th 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 REMNANTS (2015) Freedom Park Museum, Pretoria, Gauteng, South Africa Exhibition views and opening address by André Croucamp for Remnants, Freedom Park Museum, Pretoria, Gauteng, South Africa, 25 June – 31 July 2015 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. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, 2014 Interview ‘Paul Emmanuel on The Lost Men project’, SABC News, 2015

Paul Emmanuel THE LOST MEN MOZAMBIQUE (2007) Catembe Ferry Jetty, Maputo, Mozambique Installation view of The Lost Men Mozambique , 24 April – 12 May 2007. Counter-memorial, Catembe Ferry Jetty, Maputo, Mozambique. Photographed by John Hodgkiss. Courtesy of Art Source South Africa The Lost Men Mozambique , counter-memorial, Catembe Ferry Jetty, Maputo, Mozambique 24 April – 12 May 2007 For this once-off counter-memorial it was intended to depict the names of Mozambican and South African combattants who had died in the Mozambican Civil War between the Frelimo and Renamo political movements. During the 1980's, South Africa's apartheid government supported Renamo. In 2007 however, Mozambican authorities placed a moratorium on releasing any names to the public and consequently, Emmanuel's skin was embossed with the words Unknown Soldier repeated in Shangaan and Portuguese languages. Two printmaking workshops were conducted at The National School of Visual Art in Maputo and an exhibition of participant’s prints was installed at the French-Mozambican Cultural Centre. Supported by Pro Helvetia Arts Council of Switzerland, Swiss Agency for Development and Cooperation, Centre Culturel Franco-Mozambicano, French Institute South Africa and The National School of Visual Art. In memory of John Hodgkiss. Related Content

A chronological portfolio of all artworks created by Paul Emmanuel

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Airstrip , 2002, copperplate drypoint, mezzotint etching, watercolour pigments on 300 gsm Somerset paper, 56 x 76 cm. Edition 5 Bag Factory 30 Years: So Far, The Future , FADA Gallery, University of Johannesburg, South Africa, 30 June – 4 July 2020 The Bag Factory is celebrating three decades of our history and legacy as a non-profit contemporary visual arts organisation by looking through our archives and highlighting our unique, long-standing relationship with artists. Initially founded in 1991 by Dr David Koloane, British philanthropist Robert Loder, and arts administrator Sandra Burnett, with support from artists like Kagiso Patrick Mautloa, Sam Nhlengethwa and many others, the Bag Factory is an inclusive and interactive studio space for a cross-generational community of practicing visual artists where the exchange of ideas is encouraged and stimulated. Airstrip (2002) was selected for this exhibition. Related content Exhibition ‘After-image’, 3 – 26 August 2004 Publication ‘After-image’, 2004 ←Previous Next→

Amnos , (detail), 1993. Copperplate mezzotint etching. Image 9 x 7 cm. Edition 10 Open Bite: A New Look at Intaglio Printmaking , Civic Gallery, Johannesburg, South Africa 1994 A group exhibition installed in the Civic Gallery (later known as The Gallery Premises) at The Johannesburg Civic Theatre. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 ←Previous Next→

Still from Remember-dismember , 2015. Hi-definition, single-channel video, stereo soundtrack, 3 min 45 sec (looped). Edition 5 4th Africa-In-Motion International Film Festival , Edinburgh International Film Festival, Filmhouse, Edinburgh, Scotland, UK, 22 October – 1 November 2009 3SAI: A Rite of Passage (2008) was shortlisted by a selection committee of film specialists for the Africa in Motion Short Film Competition. The Festival received over 60 entries from 22 African countries. All the shortlisted films were screened as part of the 4th Africa in Motion Film Festival 2009 on Monday 26 October, at the Edinburgh Filmhouse Cinema. The winner was selected by a jury, consisting of acclaimed Algerian filmmaker Amor Hakkar; filmmaker, presenter and writer Zina Saro-Wiwa; director of the Scottish Documentary Institute, Noe Mendelle; and high profile film critic, writer and producer Mark Cousins. 3SAI: A Rite of Passage (2008) was officially selected for this festival and competition, and won first place and the jury prize. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Independent critical writings about the artworks and practice of Paul Emmanuel Irene Enslé Bronner Critical Commemorative Practices in The Lost Men France by Paul Emmanuel De Arte, 1–23. Taylor and Francis, November, 2025 Print ISSN: 0004-3389 Online ISSN: 2471-4100 Read more → Mark Auslander and students enrolled at American University Museums, Difficult Dialogues and Social Repair Transcript of an interview with Paul Emmanuel conducted by students in an undergraduate, anthropology course by Professor Mark Auslander at American University, Washington D.C., U.S.A., May, 2024 Read more → Paul Emmanuel Untethered: Exploring Intimacy and Estrangement in Military Culture and Civilian Society. A thesis submitted in partial fulfilment of the degree of Master of Fine Arts at the Maryland Institute College of Art, May, 2024 Read more → Irene Enslé Bronner Light on loss in new works by Paul Emmanuel. 'Image and Text' no 36, Taylor and Francis, University of Pretoria, Pretoria, South Africa, November, 2022 ISSN 2617-3255 Read more → Karen von Veh and Landi Raubenheimer Memorials, Landscape and White Masculinity: Dialogic Interventions in South African Art. 'Image and Text' no 36, Taylor and Francis, University of Pretoria, Pretoria, South Africa, November, 2022 ISSN 2617-3255 Read more → Mark Auslander Altered Carbon: Dramas of Detachment. Reflections on Paul Emmanuel's Substance of Shadows. 'Moving Cube', University of Johannesburg Art Gallery, Johannesburg, South Africa, September, 2021 Read more → Adelheid von Maltitz Art, Place, Death: The Transformative Power of Dynamic Thresholds. A thesis submitted in partial fulfilment of the degree of Doctor of Philosophy at the University of the Free State, Bloemfontein, South Africa, July, 2021 Document ID: 2002119739 Read more → Mark Auslander and Pamela Allara Platform Number 5: Paul Emmanuel. 'Art Beyond Quarantine', Online blog, Mark Auslander, June, 2020 Read more → Karen von Veh The Material of Mourning: Paul Emmanuel's Lost Men as Counter-memorials. 'Image and Text' no 34, Taylor and Francis, University of Pretoria, Pretoria, South Africa, December, 2020 ISSN 2617-3255 Read more → Ellen Schasttschneider, Mark Auslander and Pamela Allara Ex Unitate Vires: Paul Emmanuel. 'Art Beyond Quarantine', Online blog , Mark Auslander, April, 2020 Read more → Mark Auslander Veil 1954: Paul Emmanuel. 'Art Beyond Quarantine', Online blog , Mark Auslander, April, 2020 Read more → Pamela Allara Carbon dad 2017: Paul Emmanuel. 'Art Beyond Quarantine', Online blog , Mark Auslander, March, 2020 Read more → Pamela Allara and Mark Auslander Between Men and Monuments: The Art of Paul Emmanuel. 'Art Beyond Quarantine', Online blog , Mark Auslander, March, 2020 Read more → Pamela Allara Shrouds on the Somme's Body 'Paul Emmanuel', Wits Art Museum, Johannesburg, South Africa, March, 2020 ISBN 978-0-620-87116-7 Karen von Veh Where Have All the Young Men Gone? 'Paul Emmanuel', Wits Art Museum, Johannesburg, South Africa, March, 2020 ISBN 978-0-620-87116-7 Annette Becker Paul Emmanuel: The Lost Men France (2014) 'Paul Emmanuel', Wits Art Museum, Johannesburg, South Africa, March, 2020 ISBN 978-0-620-87116-7 Karen Von Veh The Politics of Memory in South African Art. 'De Arte', UNISA Press, Pretoria, South Africa and Routledge Taylor & Francis Group, London, UK, February, 2019 ISSN 0004-3389 Read more → Andrew Peter Swanepoel Repositioning the Problematic Gender Formation of a Generation of White South African Men Through Performance Art Dissertation submitted in accordance with the requirements for the degree of Master of Visual Arts at The University of South Africa, Pretoria, South Africa, August, 2018 Robyn Sassen Your Name, My Body. 'My View: The Arts at Large', Robyn Sassen, Johannesburg, South Africa, March, 2018 Read more → Johan Thom Impermanence: Paul Emmanuel. 'Paul Emmanuel: Impermanence', Fried Contemporary Gallery, Pretoria, South Africa, March, 2018 Read more → Matthijs Sluiter The Lost Men Project. 'Fonts in Use', Fonts in Use LLC, Oakland, California, USA, 2018 Read more → Paul van Capelleveen Paul Emmanuel, The Lost Men Project. 'Reading is Touching in The Art of Reading', Museum Meermanno, The Hague, The Netherlands, November, 2017 Read more → Pamela Allara Paul Emmanuel: The Counter-memorial in the Age of Permanent War. 'Aesthetic Justice', College Art Association Conference, New York, USA, February, 2017 Read more → Pamela Allara Shrouds on the Somme: Paul Emmanuel's World War I Counter-Memorial. 'Paul Emmanuel: Remnants', Boston University Art Galleries, Boston, Massachusetts, USA, January, 2016 Read more → Pamela Allara Mechanized Bodies: From the Armored Body to Technological Vision. 'Permanent War: The Age of Global Conflict', School of the Museum of Fine Arts, Boston, USA, January, 2015 Read more → Clare Humphries Material Remains: The Afterlife of Personal Objects. An project submitted in fulfilment of the requirements for the degree of Doctor of Philosophy, pp 228 – 231, RMIT University, Melbourne, Australia, October, 2014 Read more → Annette Becker À guerre mondiale, art mondial. 'Voir La Grande Guerre – Un Autre Récit', Armand Colin, Paris, France, October, 2014 ISBN 978-2-200-28757-3 Read more → Dominic Thorburn Borderline – Sweeping a Mind Field. ‘Borders & Crossings’ IMPACT 8 International Printmaking Conference, University of Dundee, Scotland, UK, August, 2013 Read more → Irene Enslé Bronner The 'person without the person' in the early work of Paul Emmanuel. 'De Arte', UNISA Press, University of South Africa, Pretoria, South Africa. Volume 85, 2012, pp 42-58. ISSN 0004-3389 Read more → Pamela Allara Diane Victor and Paul Emmanuel: Lost Men Lost Wor(l)ds. 'Gender and South African Art' in 'African Arts', MIT Press Journals, Cambridge, Massachusetts, USA. Volume 45, No. 4, October 2012, pp 34-45. ISSN 0001-9933 Read more → Pamela Allara Paul Emmanuel’s Transitions: The White South African Male in Process. 'NKA Journal of Contemporary African Art', Duke University Press, North Carolina, USA. Issue 28, November, 2011, pp 58-66. ISSN: 1075-7163 Read more → Michael Smith FNB Joburg Art Fair Featured Artist Paul Emmanuel. 'ArtThrob', ArtThrob, Cape Town, South Africa, 2011 Read more → Irene Enslé Bronner Initimate Masculinities in the Work of Paul Emmanuel. A thesis submitted in fulfilment of the requirement for the degree of Master of Arts of Rhodes University, Makhanda, South Africa, 2011 Document ID: 2108 Read more → Robyn Sassen Under Covers: South Africa’s Apartheid Army – an Incubator for Artists’ Books. 'The Blue Note Book: Journal for Artists' Books', CFPR, University of the West of England, Bristol, UK, Volume 3, Number 1, October, 2008. ISSN 1751-1712 (print) 1751-1720 (online) Read more → André Croucamp Conversations on the Transience of Light. 'Transitions', Art Source South Africa, Johannesburg, South Africa, 2008 ISBN 978-0-620-41945-1 Read more → Aryan Kaganof Interview with Paul Emmanuel. 'Kagablog', Online blog, Aryan Kaganof, Johannesburg, South Africa, 2008 Read more → Robyn Sassen Of Circumcising and Circumscribing and Understanding Where I Fit In. 'Transitions', Art Source South Africa, Johannesburg, South Africa, 2008 ISBN 978-0-620-41945-1 Read more → David Paton The Sound of a Book: Sound as Generator of Narrative in the Reception of Selected New Media Objects as Books. 'Image & Text', No. 13, University of Pretoria, Pretoria, South Africa, 2007 ISSN 1020 1497 Read more → Robyn Sassen Attention Seeking Images. 'IMPACT International Printmaking Conference', Tallinn, Estonia, 2006 Read more → David Paton Interview with Paul Emmanuel. 'Navigating the Bookscape: Artists’ Books and the Digital Interface', David Paton, Johannesburg, South Africa, 2006 ISBN 0-620-37094-7 Read more → Robyn Sassen Navigating the Bookscape: Artists’ Books and the Digital Interface. 'Navigating the Bookscape: Artists’ Books and the Digital Interface', David Paton, Johannesburg, South Africa, 2006 ISBN 0-620-37094-7 Read more → Julia Charlton Drawing out of the Darkness: Contemplating after-image. 'After-image', Paul Emmanuel, Johannesburg, South Africa, 2004 ISBN 0-620-32295-0 Read more → Lisa Cohn The Lost Men. 'ITCH', Volume 1 Issue 1, Bell Roberts Publishing, Cape Town, South Africa, 2003 ISBN 0-6203-1894-5 Read more →

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→