Permanent War: The Age of Global Conflict — 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 Permanent War: The Age of Global Conflict , Barbara and Steven Grossman Gallery & Mrs. E Ross Anderson Auditorium, School of the Museum of Fine Arts, Boston, USA, 29 January – 7 March 2015 In the century since World War I, coined “The war to end all wars,” battles have raged on around the globe. The nature of warfare has changed dramatically with wars no longer beginning with formal declarations or ending with peace treaties; instead, violence spreads underground, with terror surfacing in ever-changing locations; drone warfare merges politics with computer games; news from far-flung battlefronts is devastatingly immediate. January 29–March 7, 2015, the School of the Museum of Fine Arts, Boston (SMFA) will tackle this difficult subject with its spring exhibition, Permanent War: The Age of Global Conflict , guest curated by Pamela Allara. “The many commemorations in Europe of the centenary of World War I inspired me to propose a war-themed exhibition to Joanna Soltan, SMFA Curator,” says Allara. “Although the nature of war is rapidly changing, its death and destruction remain. The artists included in the exhibition examine our state of permanent war with insight, courage and not infrequently, ironic humor.” Organized into five themes—Mechanized Bodies, Combat as Performance, Living in a War Zone, Conflict as Media Entertainment, and Landscape as Cemetery—Allara brings together 16 artists to explore the lives of military and private citizens are surveyed, manipulated, controlled, and threatened in this era of perpetual warfare. ARTISTS Matthew Arnold, Claire Beckett, Bill Burke, Bonnie Donohue, Paul Emmanuel, Harun Farocki, Coco Fusco, Adam Harvey, Ken Hruby, Lamia Joreige, Richard Mosse, Trevor Paglen, Jamal Penjweny, Sig Bang Schmidt and Steve Dalachinsky, Paul Stopforth, and Mark Tribe. 3SAI: A Rite of Passage (2008) was selected by the curator for this exhibition. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Remnants, a 2017 solo exhibition by Paul Emmanuel at The Reservoir, Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa. Exhibition view of Remnants with Remnant 1 in the foreground, 2015, weathered pigment-printed photograph on silk, 5 x 5 m Remnants , The Reservoir, Oliewenhuis Art Museum, Bloemfontein, South Africa 25 May – 9 July 2017 First exhibited at South Africa's Freedom Park Museum and then at Boston University's 808 Gallery USA, 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. The exhibition 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. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014

After-image, a 2005 exhibition by Paul Emmanuel at Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa. Airstrip , 2002. Copperplate drypoint, mezzotint etching, watercolour pigments on 300 gsm Somerset paper, 56 x 76 cm. Edition 5 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 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

Cure — archive entry documenting Paul Emmanuel’s participation and work. Hi-definition video still from CURE: Paul Emmanuel (2020) 2 min 44 sec Cure , University of Johannesburg Art Gallery, South Africa 14 September 2020 – With levels of lockdown still in place during the COVID-19 Pandemic, The University of Johannesburg Art Gallery invited 16 artists to explore and interrogate the aspect of art as cure, as restorative endeavour. The exhibition focused on our passage through the world, on reflection and reconciliation between the natural and the artificial. Curated by Johan Myburg, Carbon dad 2017 (2020) was selected for this exhibition and paired with MLK, performed by the University of Johannesburg Choir. Curator’s note Emmanuel’s artwork, entitled Carbon Dad 2017 , takes a look at how Emmanuel grapples with the intricacies of traditional masculine roles and how his own father played a part in his outlook on gender. Emmanuel’s father, a traditionally masculine force, struggled with his son’s “acting out” and tried to model his own culture and ways of being a man on Emmanuel in ways which he could not resonate with. Taking inspiration from the Shroud of Turin, the famed religious artifact which bears the image of a man, believed by many to be that of Jesus, Emmanuel has similarly created a carbon imprint of his father. The Shroud is believed to have been “miraculously burned onto the fabric by an unknown mysterious flash of Divine light and energy,” Emmanuel recalls from his Catholic school upbringing. This idea of imprinting a body onto a surface for all to inspect and interrogate is key in Emmanuel’s work. Carbon Dad 2017 portrays the ethereal image of his father, making small marks and scratches on carbon paper in order to bring the figure to life. The drawing materialises on the paper echoing the mystical appearance of the image on the Shroud. At the age of 93, months before he died, Emmanuel’s father reluctantly agreed to pose nude for a photograph that Emmanuel intended to use for an artwork. In those final months, what followed was a period of intimacy and reconciliation between father and son, as Emmanuel cared for his ailing father. Carbon Dad 2017 combines the uphill battle Emmanuel had with his father throughout his life regarding his femininity and artistic expression, with the mediation the two had in the last few months of his father’s life. The artwork becomes a “meditation on copies, imperfect copies vainly defying the inevitable impermanence of it all – a failed attempt to recapture a moment, inscribed into the black carbon of transfer paper,” Emmanuel states. Related content Exhibition ‘Substance of Shadows’, 11 September – 2 October 2021 ←Previous Next→

Twenty: Art in the Time of Democracy — Pretoria — archive entry documenting Paul Emmanuel’s participation and work. Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec Twenty: Art in the Time of Democracy , Pretoria Art Museum, South Africa, 9 – 21 May 2015 This exhibition is in celebration of 20 years of South Africa's democracy and is intended to be a showcase of historical and contemporary work that looks at six different aspects of South African life and experience. Appropriate artists and particular works have been selected to narrate these experiences. A broad range of artists and demographics have been selected to showcase the depth of talent and commentary that comes out of contemporary South African art. Curated by Senior Lecturer Gordon Froud and Professor Karen Von Veh from the University of Johannesburg, South Africa. 3SAI: A Rite of Passage (2008) and number 05000674PV (2009) were 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→

SASOL Wax in Art Competition — archive entry documenting Paul Emmanuel’s participation and work. Air on the Skin , (detail), 2002. Incised original drawing, shoe polish, acrylic on 285 gsm Fabriano Rosaspina Avorio paper. 70 x 304 cm. Standard Bank Corporate Art Collection SASOL Wax in Art Competition , SASOL WAM! Festival, Sasolburg, South Africa, September 2002 A group show, curated by Lesley Cohn, of selected artworks submitted nationally for the competition. Sasol Corporation – the competition sponsor – is the largest producer of wax in the world and the competition was unique in that it challenged South African artists to create work in or through wax. The two categories: ‘Wax as the medium’ and ‘Wax as part of the process’ constituted the criteria by which works were judged. Air on the Skin (2002) – a one-off work – won the ‘Wax as the medium’ category. This 70 x 3 040 mm triptych was created by layering black shoe polish over pva-treated paper. The images were then scratched into this surface with a fine blade, gradually working from dark to light. Related content Press article ‘Paul Emmanuel Perfects the Fine Art of Turning Oddness into Transcendence, March 2003 ←Previous Next→

Holding Tension — archive entry documenting Paul Emmanuel’s participation and work. Installation view of Rising-falling , 2021. High definition video, stereo soundtrack, 3 minutes 45 seconds, (looped). Courtesy of the Johannesburg Institute for Advanced Study and Diversity Art Forum Holding Tension , Sheila and Richard Riggs and Leidy galleries, Maryland Institute College of Art, Baltimore, Maryland, USA, 2 – 10 December 2022 The fall exhibition of graduate students enrolled in the Mount Royal School of Art (Multidisciplinary MFA) program, curated by Inés Sanchez de Lozada. Including works by Alex Bard, Alex El Dahdah, Daniel Flores Estrella, Isa Gould, Ashling Han, Kristopher Heng, Sàgar Kàmath, YoonJung Lee, Songhyun Moon, Nova Pan, Katie Peck, Sanah Brown-Bowers, Meg Clerc, Paul Emmanuel, Trisha Gupta, Yuanwei Huang, Teddi Kabler, William Okaily, Grusha Sabharwal, Erhan Us and Jeehee Yoo. Rising-falling (2021) was selected for this exhibition. Related content Documentary ‘Shooting a Statue: Behind the Scenes of 'Rising-falling', 2021 Video artwork ‘Remember-dismember’, 2015 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 Counter-memorial ‘The Lost Men Mozambique’, 24 April – 12 May 2007 Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←Previous Next→

I Am Because You Are — archive entry documenting Paul Emmanuel’s participation and work. Table number 12 , 2010. Manière noire stone lithograph, hand printed, hand coloured, signed, numbered and dated by the artist. Black lithographic ink and watercolour pigment on 285 gsm Fabriano Rosaspina Avorio paper, 80 x 156 cm. Edition 35. Courtesy of Art Source South Africa I Am Because You Are: A Search for Ubuntu with Permission to Dream , Standard Bank Gallery, Johannesburg, South Africa. 2 February – 31 March 2018 The Standard Bank Gallery joins hands with renowned artist and curator, Usha Seejarim to present an inspiring exhibition of art works lifted from the bank's corporate art collection. Featuring Table number 12 (2010). Including works by: H.C Andrews, Percy Ndithembile Konqobe, Alan Crump, Paul Emmanuel, Barbara Jeppe, Johannes Masego Segogela, Gerard Sekoto, Willie Bester, Robert Hodgins, Daniel Naudé, Norman Clive Catherine, William Joseph Kentridge, Walter Oltmann, Dumile Feni, Kim Lieberman, Lucky Madlo Sibiya, Andrew Tshabangu, Thami Mnyele, Samuel Daniell, Joni Brenner, Diane Victor, Lisa Brice, Kudzanai Chiurai, Hasan and Husain Essop, Haroon Gunn Salie, Gerhard Marx, Sydney Kumalo, Pierre Crocquet, Norman Kaplan, Colbert Mashile, Thomas Trevor Motswai, Sam Nhlengethwa, Penelope Siopis, Nhlanhla Xaba, Pieter Hugo, Anton Van Wouw. Related content Exhibition ‘Transitions Multiples’, 8 September – 5 November 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→

DAK'ART 2012 — archive entry documenting Paul Emmanuel’s participation and work. Number 05000674PV , 2009. Manière noire stone lithograph, hand printed, hand coloured, signed, numbered and dated by the artist. Black lithographic ink and watercolour pigment on 285 gsm Fabriano Rosaspina Avorio paper. 80 x 156 cm. Edition 35. Courtesy of Art Source South Africa DAK'ART 2012, Biennale of Contemporary African Art, Museum Theodore Monod, Dakar, Senegal, 11 May – 10 June 2012 CURATORS: Christine EYENE, Nadira LAGGOUNE, Riason NAIDOO THEME: "CONTEMPORARY CREATION AND SOCIAL DYNAMICS" The tenth edition of the biennale is held in a particular context. Indeed, 2012 is an electoral year in Senegal as was 2000. This year also marks the twentieth birthday of the most former biennale of the African continent. DAK'ART is maintained as a key event in the international art calendar. The theme chosen for this edition is expected to examine through various angles the dialogue that contemporary artists maintain with a social environment which is in constant mutation. Contemporary creation and social dynamics, is a field of investigation which academics, art critics and artists are invited to explore in the context of the meetings and exchanges of the edition 2012 of the Biennale. number 05000674PV (2009) was selected by the curators for this exhibition. Related content Exhibition ‘Transitions Multiples’, 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→

Return to Thiepval — archive entry documenting Paul Emmanuel’s participation and work. Exhibition view of Return to Thiepval: Imprinting and Erasing Memories of the First World War , Alliance Française, Johannesburg Return to Thiepval: Imprinting and Erasing Memories of the First World War , Alliance Française, Johannesburg and Cape Town, South Africa, 11 and 21 November 2014 A presentation of Paul Emmanuel's project The Lost Men France (2014), accompanied by Bill Nasson's historical contribution was held on Tuesday 11 November 2014 at 18h00 for 18h30 at The Alliance Française, Johannesburg and on the 21 November at the Alliance Française, Cape Town. Bill Nasson is a Professor in the History Department at Stellenbosch University. He specialises in the history of war and society and his works have been translated into Dutch, German, French and Italian. His new book, World War I and the People of South Africa is due for release in November this year. Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

Regards: Photographie Camerounaise / Digital Africa — archive entry documenting Paul Emmanuel’s participation and work. Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec Regards: Photographie Camerounaise / Digital Africa – Casablanca Biennale Internationale de Casablanca Project Space, Morocco. 18 April – 15 June 2019 Organised as part of the 5th Biennale Internationale de Casablanca 2020 incubation programme, with events planned in Casablanca throughout 2019 and 2020, this showcase brought together established and emerging practitioners working across photography, video and installation. Digital Africa – Casablanca featured video works by: Hakeem Adam (Ghana), Driss Aroussi (Morocco/France), Wendinagegn Belete (Ethiopia/Norway), Paul Emmanuel (Soudh Africa), Badr El Hammami (Morocco/France), Khireddine Khaldoun (Algeria), Mohammed Amine Al Makouti (Morocco), Mahlôt Sansosa (Brazil/Tanzania), Yvon Ngassam (Cameroon), Marton Robinson (Costa Rica), Leandré le Roux (South Africa) and Carly Whitaker (South Africa). Remember-dismember and 3SAI: A Rite of Passage (2008) were selected by curator Christine Eyene, for this exhibition. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Intervention ‘Rising-falling’, 2021 ←Previous Next→

In Plain Sight — archive entry documenting Paul Emmanuel’s participation and work. The Lost Men France 4 , 2014. Pigment printed photograph on archival paper. 42 x 108 cm. Edition 5 In Plain Sight: Social Life in South Africa and Romania Before and After 1989 , ApARTe Gallery of George Enescu University of Arts & Borderline Art Space, Iasi, Romania 25 November – 8 December 2016 The nineties were a turning point for countries in the former Eastern European bloc and for South African society. While Romanian society underwent violent changes of the political regime in the transition from socialism to a primarily savage form of capitalism, South Africa embarked on the road leading to the end of apartheid in 1994. The new dispensation was marked by the jubilation of the Rainbow Nation and the African Renaissance as vehicles to grapple with the social constructions of identities in a ‘new’ South Africa. Exploring the capacity of the photographic medium to capture and reproduce ordinary views of daily life and to transform habitual ways of looking at these images, thus releasing their implicit political potentialities, the current exhibition presents for the first time in Romania, a selection of contemporary photography from South Africa, set in dialogue with Romanian artists who employ the medium of photography to investigate recent, small scale social processes and transformations. While South African artists are critically addressing issues related to race, ethnicity, class and gender, constructing micro-cartographies of civil and economic disposession, Romanian artists are more poetically involved in the exploration of lines of fracture in collective memory, social marginality and precarious economies. The curators selected The Lost Men France IV (2004) for this exhibition. Artists: Omar Badsha (SA), Matei Bejenaru (RO), Tanisha Bhana (SA), Reshma Chhiba (SA), Claudiu Cobilanschi (RO), Paul Emmanuel (SA), Lebohang Kganye (SA), Iosif Kiraly (RO), Andrei Nacu (RO), Cedric Nunn (SA), Dumitru Oboroc (RO). Curators: Cristian Nae (RO) and Judy Peter (SA). Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→