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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→

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→

Still from Remember-dismember , 2015. Hi-definition, single-channel video, stereo soundtrack, 3 min 45 sec (looped). Edition 5 Rethinking Kakotopia , University of Johannesburg Art Gallery, South Africa, 6 September – 4 October 2017 The exhibition is based on the premise that transgressive visual interpretation of kakotopia should, but only sometimes does, play an important role in creating awareness of the crisis of exclusion and violence in the world today. Kakotopia , from the Greek 'kakos' (bad, vile, ugly, and unhappy) and 'topos' (place), was the term used by English philosopher Jeremy Bentham to describe a negative state of society, an anti-utopia characterised by chaos and disintegration. The literature describes a kakotopian society as one where the citizens often live in a dehumanised state, with fear of the outside world, having lost respect for the natural world. Rethinking Kakotopia encompasses visual explorations and commentary around the ongoing issues that surround our notions of identity and belonging in the contemporary world; how these notions often negate our 'sense of place'. The exhibition explores stories of (amongst other things), corruption, emotive nationalism, xenophobia, belonging, nostalgia, sentiment, patriotism, freedom, and rage against the decimation of our fauna. The invited artists are asked to formulate reflections on the ability and psyche of people to survive and respond to the challenges of change; to move from kakotopia to utopia. Curator Derek Zietsman selected Remember-dismember (2015) for this exhibition. Related content Intervention ‘Rising-falling’, 15 June 2021 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

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→

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→

Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec 7th Sedicicorto International Film Festival , Forlí, Italy, 4 – 10 October 2010 This short film festival is held every year at the beginning of October in Italy, in the beautiful town of Forlì. It aims at offering visibility to the short film genre, offering its audience a careful selection of a number of short films submitted from all over the world. The festival is divided into four competitive sections: MOVIE: International Fiction Films ANIMA and LAB: International Animation and Experimental Films DOC: International Documentary Films CORTITALIA: National (Italy) Films of any genre 3SAI: A Rite of Passage (2008) was officially selected to be screened at this festival 2010 in the LAB category. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Cathexis , 2003. Hand printed, hand bound artists’ book with slip case, 36 x 26,5 x 3 cm. Edition 3 Booknesses: Artists’ Books from the Ginsberg Collection , University of Johannesburg Art Gallery, Johannesburg, South Africa, 25 March – 5 May 2017 Curated by Prof. David Paton, assisted by Annali Dempsey, Roselind Clever and Jack Ginsberg. An exhibition of 258 book objects, historical and contemporary, by South African and International artists, showcased in one of the most comprehensive exhibits of artists' books ever to have been held internationally. Incuding works by: Walter Batiss, Kim Berman, Joseph Beuys, Belinda Blignaut, Willem Boshoff, Sara Bodman, Louise Bourgeois, John Cage, Alexander Calder, Sonia Delaunay, Francesco Clemente, Steven Cohen, Christine Dixie, Jim Dine, Max Ernst, Olafur Eliasson, Paul Emmanuel, Gilbert & George, David Hockney, Jasper Johns, William Kentridge Atta Kwami, Sol LeWitt, Robert Motherwell, Gerhard Marx, Judith Mason, Man Ray, Edward Ruscha, Lucus Samaras, Robbin Silverberg, Joachim Schönfeldt, Durant Sihlali, Richard Tuttle, Diane Victor, Kara Walker, Andy Warhol, Alastair Whitton, among others. Emmanuel's artists' book Cathexis (2003) was selected by the curators for this exhibition. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 Exhibition ‘After-image’, 5 – 29 April 2005 ←Previous Next→

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→

A farm road, Somme , 2013 Original drawing, hand-incised into exposed colour photographic paper, 49 x 130 cm. Private Collection Weerberig – Weather report , Aardklop National Arts Festival, Potchefstroom, South Africa, 24 – 29 September 2013 “Our landscape is not an eternal constant, it is mutable, constantly changing and being re-negotiated. In South Africa we have our very specific history to contend with. Land, ownership and national identity is integral to any understanding of the South African landscape. How did we and how do we posit emotion and meaning onto the landscape? Ours is a fraught history and land issues still play an important, often divisive role in our current social and political space. This year marks the 100th anniversary of the Land-Act. This piece of legislation provided necessary armour for the division of land and people in South Africa. We are still dealing with this and it has left a permanent scar on the South African psyche.” – Luan Nel (Curator) A one-off, original drawing scratched into exposed photographic paper titled A Farm Road, Somme (2013) was created for this exhibition. Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

Twelve Apples , 1995. Manière noire stone lithograph, watercolours on 285 gsm Fabriano Rosaspina Avorio paper, 29 x 39 cm. Edition 10 The First Four Years , The Civic Gallery, Johannesburg, South Africa 1995 A group exhibition installed in the Civic Gallery (later known as The Gallery Premises) at The Johannesburg Civic Theatre. Related content 7a.jpg ‘Pages from Cathexis’, 30 April – 27 May 2000 ←Previous Next→

Amnion , (detail), 1998. Manière noire stone lithograph, watercolours on 250 gsm Arches white paper, 46,5 x 33 cm. Edition 10 Print – Exchange , Co-operation printmaking project between Flanders and South Africa 1995 A co-operation Project between Flanders and South Africa, this set of playing cards, reproductions of original graphic prints made by Flemish and South African Artists, is the result of the cooperation between the Flemish Centre for Graphics “Frans Masereel” from Kasterlee, the Artist Proof Studio from Johannesburg, and the Hard Ground Printmakers from Capetown. Comprising two complete packs of playing cards in clear plastic container, one pack of these has bibliographic details of each artist on the back of each card and the other pack has the same image on the back of each card. In addition, there is a special edition where the cards have been pasted onto four black accordion folded booklets, all of which are housed in a perspex container. Clubs and Diamonds contain images from Flanders. Hearts contain images from the Artist Proof Studio from Johannesburg. Spades contain images from the Hard Ground Printmakers from Capetown. The South African artists (Hearts and Spades) are indexed. The suite is contained in a black drop-back box by Peter Carstens with antique marbling. (courtesy South African Artists Books website) Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 ←Previous Next→

Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec VIDEOGUD , 10th Video Konst Festival, Uppsala Konsert and Kongress, Sweden, 27 – 28 May 2010 The VIDEOGUD programme screens selected videos in two periods in sixteen venues spread out in three counties in the middle of Sweden – in public libraries, museums, cultural centers, hospitals and schools. These programmes reach out to art and media students alike as well as new audiences. The focus of these programmes is to educate and inform. In addition, every spring in May, a two-day Video Art Festival takes place with national competitions where artists and critics give lectures to compliment the many screeenings. 3SAI: A Rite of Passage (2008) was selected to be screened on this programme and at this festival in 2010. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→