Search Results

Paul Emmanuel THE LOST MEN GRAHAMSTOWN (2004) 10th anniversary of South Africa's democracy, 1820 Settlers National Monument, Gunfire Hill, Makhanda, Eastern Cape, South Africa Info The Lost Men Grahamstown Counter-memorial, tenth anniversary of South Africa’s democracy, 1820 Settlers National Monument, Gunfire Hill, Mkhanda (formerly known as Grahamstown), Eastern Cape, South Africa 1 – 10 July 2004 This once-only counter-memorial was temporarily installed adjacent to the 1820 Settlers' National Monument , Grahamstown, South Africa in July 2004 on the 10th anniversary of South Africa's democracy. The installation formed part of the Grahamstown National Arts Festival's main programme. Sourced from public archives, the names and military ranks of men who had died in the 1779 – 1879 Xhosa Wars fought in the Grahamstown area, were pressed into Emmanuel's skin. Xhosa names however, could only be sourced from the journals of white soldiers and were each recorded as a single name only. Supported by The National Arts Council of South Africa and The Grahamstown National Arts Festival . Academic journal article by Prof. Emerita Karen von Veh (2019) Research article by Robyn Sassen for IMPACT printmaking conference, Tallinn, Estonia (2007) Poem by Lisa Cohn for Itch magazine (2004) Review by Yvette Greslé for Art South Africa magazine (2004) Review by Kim Gurney for Artthrob (2004) Review by Diane Tipping Woods for Cue newspaper (2004) Press release from Art Source South Africa [PDF] (2004)

Paul Emmanuel AFTER-IMAGE (2005) Villa Arcadia, Johannesburg, Gauteng, South Africa Info 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. Press release from Art Source South Africa [PDF] Catalogue essay by Julia Charlton Article by Alex Dodd for Business Day Art newspaper Article by Yvette Greslé for Art South Africa magazine Review by Robyn Sassen for Artthrob Review by Bettie Lamprecht for Beeld newspaper (Afrikaans) Review by Taryn Cohn for Art South Africa magazine

Paul Emmanuel PAGES FROM CATHEXIS (2000) Open Window Contemporary Art Gallery, Pretoria, Gauteng, South Africa Info Pages from Cathexis The Open Window Contemporary Art Gallery, Pretoria, Gauteng, South Africa 30 April – 27 May 2000 Emmanuel's first solo exhibition comprised small, intimate copperplate etchings from the Sleep Series as well as his first landscape lithographic work Vault of Breath (2000). Page proofs from his artist’s book in progress Cathexis , were also on view. His artists book Nomina sunt Numina (1993) which was submitted for the partial fulfilment of a Bachelor of Fine Arts degree at the University of the Witwatersrand in 1993, was also displayed. The exhibition was extended by an educational display of lithographic and etching equipment. Three skills-transfer printmaking workshops were held at the gallery with young participants from The Ipopeng Project. Supported by a grant from the National Arts Council of South Africa. Review by Reney Warrington for Artthrob (2000)

Paul Emmanuel AFTER-IMAGE (2005) Constitution Hill, Johannesburg, South Africa Info 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 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. Press release from Art Source South Africa [PDF] Catalogue essay by Julia Charlton Article by Alex Dodd for Business Day Art newspaper Article by Yvette Greslé for Art South Africa magazine Review by Robyn Sassen for Artthrob Review by Bettie Lamprecht for Beeld newspaper (Afrikaans) Review by Taryn Cohn for Art South Africa magazine

Paul Emmanuel THE LOST MEN MOZAMBIQUE (2007) Catembe Ferry Jetty, Maputo, Mozambique Info 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. Article by Jorge Dias for Arte em Movinmento (Portuguese), (2009) Press release from Art Source South Africa [PDF] (2007) Muv’arts blog post (2007) Article by Johan Myburgh for Beeld newspaper (2007) Article by Sean O’Toole for Art South Africa (2007)

Search Results 41 items found for "" The Lost Men Mozambique | Paul Emmanuel Info 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. Article by Jorge Dias for Arte em Movinmento (Portuguese), (2009) Press release from Art Source South Africa [PDF] (2007) Muv’arts blog post (2007) Article by Johan Myburgh for Beeld newspaper (2007) Article by Sean O’Toole for Art South Africa (2007) Transitions (KZNSA Gallery) | Paul Emmanuel Info 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. Press release from Art Source South Africa [PDF] Go to 3SAI: A Rite of Passage page Transitions book with essay Conversations on the Transience of Light by André Croucamp [PDF] Transitions concept document [PDF] How the Transitions drawings were made [Video 2 min 42 sec] On making 3SAI: A Rite of Passage [PDF] After-image (US Art Gallery) | Paul Emmanuel Info 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 essay by Julia Charlton was printed and published by US Art Gallery. Press release from Art Source South Africa [PDF] (2004) Catalogue essay by Julia Charlton Article by Alex Dodd for Business Day Art newspaper Article by Yvette Greslé for Art South Africa magazine The Lost Men | Paul Emmanuel Info The Lost Men Sylt Foundation, Rantum, Sylt Island, Germany July – September 2009 Paul 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. Article in the Sylter Spiegel (German) [PDF] Newspaper article (German) [PDF] Article by Christiane Retzlaff in Sylter Spiegel [PDF] Art Source South Africa press release [PDF] The Lost Men project concept document [PDF] Transitions (Spier Gallery) | Paul Emmanuel Info 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 6th 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. Article by Alex Dodd for Wanted magazine (2010) Article by William Dobson in The Cape Times (2010) Spier Gallery press release [PDF] Go to 3SAI: A Rite of Passage page Transitions book with essay Conversations on the Transience of Light by André Croucamp [PDF] Transitions concept document [PDF] How the Transitions drawings were made [Video 2 min 42 sec] On making 3SAI: A Rite of Passage [PDF] ​ Paul Emmanuel 3SAI: A Rite of Passage 3SAI: A Rite of Passage 2008 Single-channel, high-definition video projection, stereo soundtrack 13 minutes 58 seconds Signed, numbered and dated Blu Ray disc, certificate of authentication from Art Source South Africa Edition 10 Introduction This film explores rites of passage and transitions in male identity through a visual and aural representation of the head shaving “rituals” of military recruits. ​ Originally conceived as an artwork for a touring museum exhibition, 3SAI: A Rite of Passage is a short, cross-platform, non-narrative documentary in the experimental, non-verbal genre. The film has no plot or script and its content is neither contextualised nor site-specific. It is a sequence of video and film footage documenting the head-shaving rituals of young recruits at the Third South African Infantry Battalion (3SAI) in Kimberley, South Africa. Combined with landscape imagery, time-lapse and slow-motion cinematography, this presentation of an annual male rite of passage asks us to re-examine these moments of transition in masculine identity, and consider what is captured and what is lost ... ​ Format The viewing format of 3SAI: A Rite of Passage is a 1080p High-Definition cinematic projection from a Blu Ray video disc. The running time of the film is 13 minutes 58 seconds. Footage was captured using 35 and 16 mm film as well as High Definition video to obtain different viewing qualities and to capture frames in sufficiently high numbers per second to slow down the action to the required level. Saturated-colour 'documentary' scenes highlight a depiction of 'reality', while the more 'poetic' scenes are viewed in desaturated tones. Stereo ambient sounds of razors, immersive liminal spaces and other head-shaving paraphernalia form part of the final composed soundtrack. ​ Synopsis We open on the emptiness of the Gariep Dam – a landscape of the Karoo in the Free State province of South Africa. The image is ambiguous. The ripples on the muddy water look like ripples in desert sand. The image is shattered by the violent jolting sound of a freight-train coupling resonating with a piercing military whistle. We cut to a line-up of young recruits waiting for their obligatory hair shaving at 3SAI. We join the queue. At first we witness a monotonous sequence of indifferent head shavings – the industrial hum of an electric razor – and then gradually the rhythm of a production line which increases in pace and intensity. Suddenly at the peak of this syncopated spectacle we are cast into a twilight realm of slow-time. We break through the military machine and witness a new head shaving in slow motion and in micro-close up format. There is now an intimacy and vulnerability that was not seen before – an altered state, abstracted, de-contextualised and open to interpretation. This then fades back into the contemplative spaces of the Gariep. The work critically engages the medium of film itself in the way it plays with time, changing the possible meanings of an experience as time slows down. What is captured? What is lost? ​ 3SAI: A Rite of Passage is a feature of an internationally touring museum solo art exhibition entitled Transitions by Paul Emmanuel. In this art exhibition Emmanuel explores these themes using a variety of different media. The film however, is also independently screened at selected relevant international film festivals and art biennales. ​ AWARDS 2011 Nominee , Jury Prize, Best Experimental Film, 9th In-the-Palace International Short Film Festival, Balchik, Bulgaria Read more 2010 Winner , Jury Prize, Best Experimental Short Film, 5th Sardinia International Film Festival, Sassari, Sardinia, Italy Read more 2009 Winner , Jury Prize, Best Short Film, 4th Africa-in-Motion Short Film Competition, Africa-in-Motion International Short Film Festival, Edinburgh International Film Festival, Edinburgh, Scotland, United Kingdom Read more ​ SCREENINGS 2019 Morocco , Biennale Internationale de Casablanca project space, REGARDS: PHOTGRAPHIE CAMEROUNAISE/DIGITAL AFRICA – CASABLANCA, 18 April – 15 June. ​ 2018 South Africa , Western Cape, Cape Town, Cape Town Cruise Terminal, V&A Waterfront, Strauss & Co. Fine Art Auctioneers and Consultants, CONTEMPORARY ART, January 15 – 17. 2015 South Africa , Gauteng, Johannesburg, University of Johannesburg, FADA Gallery, TWENTY: ART IN THE TIME OF DEMOCRACY, July 11 – August 7. South Africa , Free State, Bloemfontein, University of the Free State, Johannes Stegmann Art Gallery, REPRESENTATIONS OF OTHERNESS AND RESISTANCE, May 20 – June 19. South Africa , Gauteng, Pretoria Art Museum, TWENTY: ART IN THE TIME OF DEMOCRACY, May 9 – 21. USA , North Carolina, Boone, Appalachian State University, Turchin Center for the Visual Arts, TWENTY: CONTEMPORARY ART FROM SOUTH AFRICA, July 11 2014 – February 7. USA , Massachusetts, Boston, The School of the Museum of Fine Arts, Barbara and Steven Grossman Gallery & Mrs. E. Ross Anderson Auditorium, PERMANENT WAR: THE AGE OF GLOBAL CONFLICT, January 29 – March 7. 2014 USA , North Carolina, Boone, Appalachian State University, Turchin Center for the Visual Arts, TWENTY: CONTEMPORARY ART FROM SOUTH AFRICA, July 11 – February 7, 2015. South Africa , Johannesburg, Wits Art Museum, DOING HAIR: ART AND HAIR IN AFRICA, August 20 – November 2. 2013 France , Angoulême, École européenne supérieure de l’image / European School of Visual Arts, CONFÉRANCE DE PAUL EMMANUEL, October 8. France , Paris, Le Cube, ‘TOUCH ME” FRANCE-SOUTH AFRICA SEASONS 2012-2013: CONFÉRANCE DE PAUL EMMANUEL, October 1. France , Paris, Le Cube, LES ÉCRANS DE LA LIBERTÉ: DIGITAL ANTHROPOLOGY FESTIVAL, March, 20 – 21. United Kingdom , London, Rio Cinema, 10th London Short Film Festival, AT HOME WITH THE LUDSKIS: MIDNIGHT MASS (Edition #7), January 12. 2012 South Africa , Bloemfontein, Oliewenhuis Art Museum. South Africa , Cape Town, University of Cape Town Michaelis Galleries, NOT MY WAR, June 29 – July 25. 2011 USA , Baltimore, Goya Contemporary Gallery, TRANSITIONS MULTIPLES, September 8 – November 5. South Africa , Johannesburg, 4th FNB Joburg Art Fair, TRANSITIONS MULTIPLES, September 23 – 25. USA , Baltimore, Maryland Institute College of Art, TRANSITIONS, September 9 – October 2. South Africa , Bloemfontein, University of the Free State, ARE YOU MAN ENOUGH masculinities conference, September 9 – 10. Bulgaria , Balchik, 9th IN THE PALACE International Short Film Festival, June 18 – 25. Germany , Sylt Island, Rantum, Kunst:raum Sylt Quelle Foundation, TRANSITIONS, February 18 – April 24. USA , Chicago, University of Chicago, Smart Museum of Art, BLACK BOX, November 9, 2010 – January 2. 2010 France , Toulouse, 19th Sèquence Court-Mètrage International Film Festival, BEST OF AFRIQUE DU SUD, August 19 – November 28. Italy , Forlì, 7th Sedicicorto International Film Festival, October 4 – 10. Italy , Sardinia, Sassari, 5th Sardinia International Film Festival, June 22 – 26. Sweden , Göteborg, 26th Göteborg Book Fair, September 22 – 26. Sweden , Gävleborg, Uppsala and Dalarna, 10th Videogud Video Konst Festival, May 27 – 28. USA , Washington DC, Smithsonian Institution, National Museum of African Art, TRANSITIONS, May 12 – August 22. United Kingdom , Glasgow, Centre for Contemporary Arts, AFRICAN SHORT FILMS, 13 March. The Netherlands , Rotterdam, 39th International Film Festival Rotterdam, WHERE IS AFRICA? January 25 – February 5. South Africa , Stellenbosch, Spier Gallery, TRANSITIONS, November 2009 – February 2010 & February 25 – March. 2009 United Kingdom , Edinburgh, Edinburgh Film Festival, AFRICA-IN-MOTION SHORT FILM COMPETITION, October 22 – November 1. Canada, Victoria, Open Space Arts Centre, 12th Antimatter International Film Festival, October 9 – 17. South Africa , Johannesburg, University of Johannesburg, ON MAKING: INTERGRATING APPROACHES IN PRACTICE LED RESEARCH, Colloquium, October 15. South Africa , Grahamstown, National Arts Festival, Albany History Museum, TRANSITIONS, July 2 – 12. South Africa , Durban, KZNSA Gallery, TRANSITIONS, June 2 – 21. South Africa , Kimberley, William Humphreys Art Gallery, TRANSITIONS, April 15 – May 15. South Africa , Bloemfontein, Oliewenhuis Art Museum, TRANSITIONS, February 5 – April 8. South Africa , Cape Town, Design Indaba Film Festival, February 27 – March 1. 2008 Johannesburg , South Africa, Apartheid Museum, TRANSITIONS, September 27 – December 31. ​ CREDITS An Art Source South Africa Project A Format Production A Paul Emmanuel Film Concept, Executive Producer and Director Paul Emmanuel Co-producer, Editor and Colourist Matthew Kramer Original Soundtrack Wilbert Schubel Final Mix Mantis Moon Production Manager Natalie Stange Project Manager Les Cohn Telecine/Spirit Paul Hanrahan Publicity and Media Management Taryn Cohn Film processing The Film Lab Telecine The Video Lab Third South African Infantry Battalion, Kimberley, Free State Director of Photography Ivan Leathers Cameraman Richard Markham Cameras Fordsburg Artists Studios and Magus Visual Lighting Digital Film Sound Equipment The Cameraman Transport Tempest Car Hire and Imperial Truck Hire Accommodation and Catering Bateleur Guest House Gariep Dam, Free State, South Africa Director of Photography Robert Wilson Opticals and Equipment Camera Platform Loader Ben Van Niekerk Accommodation Avontura Resort and Edelweiss Guest House Catering Ina Kotze Sturrock Park, University of the Witwatersrand, Johannesburg, Gauteng, South Africa Recruit Paul Emmanuel Barber Philip Legate Director of Photography Eran Tahor Loader / Focus Puller Houston Hadden Best Boy / Grip Allen Markham Spark Peter Modise PA Vusi Gumede Opticals Panacam Additional Equipment MCC Additional Props Wayne Sampson Transport Imperial Car Rental and Earthworx Catering Brett Rathbone Topfontein Farm, Free State, South Africa Director of Photography Eran Tahor Loader / Focus Puller Houston Hadden Best Boy Grip Allen Markham Spark Peter Modise PA Vusi Gumede Opticals Panacam Additional Equipment MCC Wind Machine Global Stunts and SFX Wind Machine Operator G. Van der Heever Accommodation Topfontein Farm Transport Imperial Car Rental and Earthworx Catering Brett Rathbone, Taryn Cohn and Les Cohn ‘The Lightweights’ art installation Paul Emmanuel Cotton t-shirts, clothes-pegs, steel 100 x 300 m Free State, South Africa 22 - 24 June 2007 ‘The Lightweights’ art installation production team Paul Emmanuel Earthworx Richard Polack Jorge Rodriguez Wayne Sampson Salome Kolobe Kgotso Elias Masere Mahlope Gladys Mohale Masekao Simon Tlale Malefetsane David Mohale Moikamo Abram Phuroe Mmalesedi Lisbeth Tlale Libuseng Jeanette Mayizale Mohapi Jacob Maqelepo Tshadiso Moloi Martiens Letebele David Tlale Molefinyane David Senyane Mohlouwa Piet Mokoteli Molefinyane David Senyane Mohlouwa Piet Mokoteli SPECIAL THANKS Richard E. Enthoven Richard Polack Jack Ginsberg Matthew Kramer Andrea Meneghelli Chi Mun Woo Anastasia Gekis Wilbert Schubel Tanya Konidaris George Dimitris Christellis Michael and Adrienne Feldner Third South African Infantry Battalion (3SAI) Kimberley Colonel Louw Colonel Grobler Major Coetzee Captain Pieterse National Film, Video and Sound Archives Trevor Moses National Military Archives Gerald Prinsloo The University of the Witwatersrand Sturrock Park Management Brian St. Clair Cooper The Topfontein Farm Staff Lisa Cohn Jo Ractliffe Aryan Kaganof Coenraad Visser Jeanetta Blignaut David Koloane Penny Siopis William Kentridge André Croucamp Koulla Xinisteris Fordsburg Artists Studios Cati Weineck Gerald Kraak Nodi Murphy Bob Nameng Kim Berman Donna Norgarb The artist has made every reasonable effort to obtain all relevant permissions related to the making of this film. A special limited edition of 10 Blu Ray High Definition Digital Video Discs was produced from the finished film. Each disc was signed and numbered by the artist 1/10 to 10/10. © Paul Emmanuel 2008 ESSAYS 2015 Allara, P. Mechanized Bodies: From the Armored Body to Technological Vision in Permanent War: The Age of Global Conflict, School of the Museum of Fine Arts, Boston, USA, January 2013 Thorburn, D Borderline – Sweeping a Mind Field academic paper presented at Borders & Crossings IMPACT 8 International Printmaking Conference, University of Dundee, Scotland, UK, August 2012 Allara, P. Diane Victor and Paul Emmanuel: Lost Men Lost Wor(l)ds in Gender and South African Art in African Arts, MIT Press Journals, Cambridge, MA, USA. Volume 45, No. 4, October. pp 34-45 (ISSN 0001-9933) REVIEWS 2010 Weaver, A. M. Paul Emmanuel, National Museum of African Art, Washington DC , in Art South Africa, Bell Roberts Publishing, Cape Town, South Africa, September 2010 Harvey, A.L. Smithsonian National Museum of African Art in The Intowner, Intowner Publishing Corp., Washington DC, USA, June 2010 Cavenaugh, A. Transitions in South Africa: Paul Emmanuel's 'Transitions' at Smithsonian National Museum of African Art in Express Night Out, The Washington Post Company, Washington DC, USA, May 2010 O'Sullivan, M. Smithsonian African Art Museum's 'Transitions' exhibit includes film on infantry (The story behind the work) in The Washington Post, The Washington Post Company, Washington DC, USA, May 2010 McKenna, A Paul Emmanuel: Transitions. Identity Construction in South Africa in California Literary Review, California, USA, June 2008 Kaganof, A. Paul Emmanuel Apartheid Museum Johannesburg in Art South Africa, Bell Roberts Publishing, Cape Town, South Africa, December 2008 Dodd, A. Art Pig in SA Art Times, Global Art Information, Cape Town, South Africa, November 2008 Corrigal, M. Fine Artist Shows a Flare for Video in The Sunday Independent newspaper, The Sunday Independent, Johannesburg, South Africa, September and in SA Art Times newspaper, Global Art Information, Cape Town, South Africa, October SELECTED PRESS ARTICLES AND INTERVIEWS 2011 Art Source South Africa Another Accolade For Paul Emmanuel's Debut Artists Film , in South African Art Times, Global Art Information, Cape Town, South Africa, February 2009 Dodd, A. Soundscapes Painstakingly Created: An interview with Wilbert Schubel in Business Day Arts, Business Day, April 2008 Kaganof, A. 3SAI: A RITE OF PASSAGE: An interview with Paul Emmanuel on Kagablog, October 2008 van Schalkwyk, K. Identity in Focus in ScreenAfrica, Sun Circle Publishers (Pty) Ltd, September On making 3SAI: A Rite of Passage [PDF] ​ Transitions Multiples (Goya Contemporary) | Paul Emmanuel Info 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. Review by Cara Ober for Urbanite magazine (2011) Interview by Marc Steiner for the Marc Steiner Radio Show WEEA 88.9 FM (2011) Press release by Goya Contemporary [PDF] Purchase a catalogue from the gallery Search Results | Paulemmanuel Search Results 41 items found for "" Substance of Shadows | Paul Emmanuel Info Substance of Shadows University of Johannesburg Art Gallery, Gauteng, South Africa 11 September – 2 October 2021 Inspired by the Human Shadow Etched in Stone at the Hiroshima Peace Memorial Museum, Hiroshima, Japan, this solo exhibition tracks Emmanuel's continued personal fascination with the tenuous nature of memory. The only certainty is change. We try to hold onto memories in the hope of maintaining some coherence and continuity, but our memories are largely inventions and they too change over time. We commemorate our invented pasts in an attempt to fix them in the present. This exhibition is a collection of works scratched by hand into delicate carbon 'paper' or film. These carbon 'shadows' are all metaphors for carbon copies and products of one of life's greatest narratives – the carbon cycle. Carbon is an element in nature. Review by Elizabeth Delmont for LizatLancaster website (2021) Review by Thango Ntwasa for The Sunday Times newspaper (2021) [PDF] Review by Johan Myburg for Beeld newspaper (2021) [PDF] Exhibition catalogue [PDF] Essay by Pamela Allara and Mark Auslander for Art Beyond Quarantine blog (2020) Essay by Mark Auslander for Art Beyond Quarantine blog (2020) Impermanence | Paul Emmanuel Info 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. Review by Robyn Sassen (2018) Gallery catalogue with essay by Dr. Johan Thom [PDF] Transitions (Albany Museum) | Paul Emmanuel Info 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 5th 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. Go to 3SAI: A Rite of Passage page Transitions book with essay Conversations on the Transience of Light by André Croucamp [PDF] Transitions concept document [PDF] How the Transitions drawings were made [Video 2 min 42 sec] On making 3SAI: A Rite of Passage [PDF] Videos and podcasts | Paul Emmanuel VIDEOS AND PODCASTS 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 EMMANUEL (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 (HD PROMO - 2014) Paul Emmanuel studio, Johannesburg, South Africa (Video 1 min 47 sec) A QUEST FOR THE LOST MEN FRANCE (2012) 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 Join us for a discussion with South African artist and filmmaker Paul Emmanuel. His new show, Transitions , runs at the Brown Center at MICA through October 2nd. His photorealist drawings and film look at gender, military culture, and sexuality in a society still reeling from apartheid. (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) EXTRACTS FROM 3SAI: A RITE OF PASSAGE (2009) Format Digital Productions, South Africa ( Video 1 min 43 sec) A SOUTH AFRICAN ON SYLT (2009) Deutsche Welle TV, Berlin, Germany (Video 6 min 28 sec) TRANSITIONS EXHIBITION WALKABOUT WITH LES COHN OF ART SOURCE SOUTH AFRICA AND PAUL EMMANUEL (2009) Oliewenhuis Art Museum, Bloemfontein, South Africa (Podcast 4 min 27 sec) TRANSITIONS OLIEWENHUIS ART MUSEUM OPENING ADDRESS (2009) Oliewenhuis Art Museum, Bloemfontein, South Africa ( Video 3 min 47 sec) PROMOTIONAL VIDEO FOR 3SAI A RITE OF PASSAGE (2006) Format Digital Productions, South Africa ( Video 1 min 59 sec) THE LOST MEN GRAHAMSTOWN (2004) Rhodes University Department of Journalism & Media Studies, Grahamstown, South Africa ( Video 1 min) PAUL EMMANUEL, (2004) MNet TV, Kyknet (Afrikaans & English), South Africa (Video 4 min 31 sec) Enquire | Paul Emmanuel ENQUIRE International Latitudes Online South Africa Les Cohn, Director, Art Source South Africa Email: lescohn@artsourcesouthafrica.co.za Studio Email: studio@paulemmanuel.net GROUP EXHIBITIONS | Paul Emmanuel GROUP EXHIBITIONS MICA GRAD SHOW 3 Maryland Institute College of Art, Baltimore, Maryland, USA 12 – 28 April 2024 The thesis exhibition of final year, graduate students enrolled in the Mount Royal School of Art (Multidisciplinary MFA) program, curated by Professor Luca Buvoli. Including works by Sanah Brown-Bowers, Meg Clerc, Paul Emmanuel, Trisha Gupta, Yuanwei Huang, Teddi Kabler, William Okaily, Grusha Sabharwal, Erhan Us and Jeehee Yoo. Untethered (2024) was featured in this exhibition. More information IN UNCERTAINTY WE TRUST Sheila and Richard Riggs and Leidy galleries, Maryland Institute College of Art, Baltimore, Maryland, USA 27 September – 13 October 2023 The fall exhibition of graduate students enrolled in the Mount Royal School of Art (Multidisciplinary MFA) program, curated by Professor Luca Buvoli. Including works by Aura Wang, Daniel Katz-Hernandez, Dooree Kang, Elicia Aceves, Huxley Green, Natalie Jenkins, Shuyi Chen, Siyi Cao, Sanah Brown-Bowers, Meg Clerc, Paul Emmanuel, Trisha Gupta, Yuanwei Huang, Teddi Kabler, William Okaily, Grusha Sabharwal, Erhan Us and Jeehee Yoo. Untethered-retethered (2023) was selected for this exhibition. 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. REVIEWING THE PAST Carol Schlosberg Alumni Gallery, Montserrat College of Art, Boston, Massachusetts, USA 18 January – 19 March 2022 Presented in conjunction with the exhibition, Samuel Bak and the Art of Remembrance, the group exhibition, Re-Viewing the Past, highlights the work of artists who explore ideas of history and memory as part of processes of re-writing or re-imagining. Creating in diverse media, including painting, printmaking, animation, and the graphic novel, participating artists consider their connection to history — whether personal or collective — as it resonates with or is interpreted through the present moment and current socio-political and cultural issues. Artists include Paul Emmanuel, Maya Erdelyi, Dell M. Hamilton, Dave Ortega, and Jordan Seaberry. Scar (2015) and Lesion (2015) were selected by curator Dr. Lynne Cooney for this exhibition. More information CARTOGRAPHIES OF BECOMING The Sylt Foundation, Sylt Island, Germany 24 December 2021 – 30 December 2022 Cartographies of Becoming interrogates the ephemeral process of positioning the self, the artist self and the social in response to a world in disintegration. How can we imagine, dream and create new meaning-making through the remembrance, and re-arrangement of perspectives, of memories, of trauma, of experiences? Six artists and their departure from the certainty of our cultural maps of belonging into the ephemeral space of transition. A reprint of the banners from The Lost Men Mozambique (2007) and Rising-falling (2021) were selected by curator Indra Wussow for this exhibition. More information 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. More information CURE University of Johannesburg Art Gallery, South Africa 14 September 2020 – With levels of lockdown still in place during the COVID-19 Pandemic, The UJ Gallery invites 16 artists to explore and interrogate the aspect of art as cure, as restorative endeavour. The exhibition focuses 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. More information AMPERSAND FOUNDATION 21 YEARS CELEBRATION EXHIBITION University of Johannesburg Art Gallery, South Africa 11 September – 9 October 2019 This extensive show, curated by Gordon Froud, senior lecturer at FADA (UJ) showcased the depth of South Africa's art scene and included works by numerous Ampersand Fellows like Diane Victor, Paul Emmanuel, Gabrielle Goliath, Mbongeni Buthelezi, Penny Siopis, Nicholas Hlobo, Senzeni Marasela, Stephen Hobbs, Alan Laing and Heidi Fouri. The Ampersand Foundation has had an immense impact on the country's fine art landscape over the last 21 years by affording visual arts practitioners exposure to the wider international arts landscape of New York. Rough collar (2018) was selected by the curator for this exhibition. More information REGARDS: PHOTGRAPHIE 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. More information SWAY: A PHOTOGRAPHIC EXHIBITION Now Gallery, The Open Window, Irene, South Africa 27 March – 30 June 2019 SWAY was Now Gallery's first photography exhibition, considering the theme of motion and the possibility of changing one's mind. Participating artists: Elsa Bleda, Mary Sibande, Michael Meyersfeld, Dani Bester, Ross Garrett, Alet Pretorius, Carla Crafford, Susanna Smith, Bernard Brand, Suzette du Plooy, Shannon Daniels, Jonina Botha, Dan Roberts, Warren James, Ryno Stols, Karl van Heerden, Paul Emmanuel, Graham De Lacy and Henry Engelbrecht. JACK GINSBERG CENTRE FOR BOOK ARTS OPENING EXHIBITION Wits Art Museum, Johannesburg, South Africa 26 March – 30 June 2019 Art collector and philanthropist Jack Ginsberg began collecting "artists' books" (artwork in the form of books) in the early 1970s, and since then has amassed a world-renowned collection of more than 3,000 pieces, plus thousands of additional items related to this contemporary art form. Ginsberg recently donated his collection of artist's books to the Wits Art Museum (WAM), which has been accommodated in the newly dedicated Jack Ginsberg Centre of the Book Arts, a new addition to the WAM archives that will be a backdrop for future exhibitions. For three months WAM hosts the inaugural exhibition at the Jack Ginsberg Centre for Book Arts, featuring a selection of the collection's standout pieces. Curated by Prof. David Paton, Jack Ginsberg and Rosalind Cleaver. Including 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, Lucas Samaras, Robbin Silverberg, Joachim Schönfeldt, Durant Sihlali, Richard Tuttle, Diane Victor, Kara Walker, Andy Warhol, Alastair Whitton, among others. Cathexis (2003) and an untitled work contributed to Robbin Ami Silverberg's book object Uhanga Dihangara were selected by the curators for this exhibition. More information WOUNDS AND RELICS Gallery 2, Johannesburg, South Africa 1 – 22 September 2018 The exhibiting artists explore the paradox of simultaneously forgetting and remembering the social scars of violent conflicts and how we carry these with us, whether as traces or wounds, or as recovered objects from the past. MATERIAL GAINS: CONTEMPORARY ART FROM THE SPIER COLLECTION Stellenbosch University Museum, Stellenbosch, South Africa 25 July – 15 November 2018 Material Gains showcases more than 50 works from Spier's diverse collection of contemporary art. The pieces are by emerging and estabished artists working across the African continent – including South Africa, Zimbabwe, Malawi, Mozambique, Congo and Nigeria. Unravelling (2017) was selected by the curators for this exhibition. More information 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. ASPIRE ART AUCTIONS: HISTORIC, MODERN AND CONTEMPORARY ART The Park on 7, Hyde Park Corner, Johannesburg, South Africa 17 June 2018 Committed to the growth and development of the African art market, Aspire Art Auctions is the first and, to date, the only auction house in South Africa to pay living South African artists royalties on the resale of their works of art on auction. More information STRAUSS & CO: CONTEMPORARY ART Block B, Cape Town Cruise Terminal, V&A Waterfront, Cape Town, South Africa 14 – 17 February 2018 The first-ever stand-alone contemporary art auction to be held in South Africa. The sale, which focuses on outstanding examples of contemporary art made by South African, African and diaspora artists, will coincide with the Cape Town Art Fair (16–18 February 2018). A signed, dated and numbered (5/10) Blu Ray disc of 3SAI: A Rite of Passage (2008) was selected by the Strauss & Co. contemporary art specialists for this auction. 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. 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. More information 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. RECENT ACQUISITIONS: UNISA – THE UNIVERSITY OF SOUTH AFRICA PERMANENT ART COLLECTION UNISA Art Gallery, University of South Africa, Pretoria, South Africa 5 – 31 August 2017 A group exhibition of new acquisitions for the UNISA Permanent Art Collection, featuring the video Remember-dismember (2015). Including works by Wayne Barker, Florine Demosthene, Frikkie Eksteen, Paul Emmanuel, Megan Erasmus, Ann Mary Gollifer, Ayana V. Jackson, Gwen Miller, Mohau Modisakeng, Aida Muluneh, Cedric Nunn, Obie Oberholzer, Jody Paulsen, Johannes Phokela, Xolela Sogoni, Nicola Roos, Ransome Stanley and others. Curated by Bongani Mkhonza. BOOKNESSES: ARTISTS' BOOKS FROM THE JACK 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. PANEL DISCUSSION: FLESH College Art Association Annual Conference, Midtown Hilton, New York City, USA 15 – 18 February 2017 The College Art Association Annual Conference is the largest international gathering of professionals in the visual arts. The program is filled with opportunities to join more than 250 stimulating sessions and meetings in a wide range of topics on art scholarship and practice; to engage in in-depth discussions on new scholarship, innovative art and issues in the arts today; and to connect with colleagues from across the country and the world. At this conference, Professor Shannen Hill (Baltimore Museum of Art) presents her paper, Thinking Skin: An Epidural Understanding of Paul Emmanuel's Lost Men Project on the panel Flesh , convened by The Arts Council of the African Studies Association (ACASA). 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 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). 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 adressing 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. FOUNDATIONS AND FUTURES: CELEBRATING 25 YEARS OF THE BAG FACTORY Fordsburg Artists’ Studios, Johannesburg, South Africa 28 October – 10 December 2016 For 25 years the Bag Factory Artists' Studios has been more than just a building and studio space. It has provided the foundation of many an artist's career. Built out of the dream for artists from different backgrounds to be able to work together, the Bag Factory is a community that continuously supports and builds on its ethos of "the community studio space where artists practice is held in the highest regard and experimentation is encouraged." Over 25 years these foundations have been strengthened by the artists and staff who have poured their passion and efforts into the community and ethos of the space. In recent years the Bag Factory has worked hard to encourage a younger community of artists to engage in our programming ensuring that the life-blood of the space - interaction and development - continues to pump. The community has played host to artists such as Helen Sebidi, Deborah Bell, Sam Nhlengethwa, Penny Siopsis, Benon Lutaaya, Blessing Ngobeni, Neo Matloga, Dinkies Sithole, Kay Hassan and many, many more. We have created an international following through our visiting artists programme and a consistent space for art loving members of the public to experience outstanding work. On Friday 28th October 2016, the Bag Factory begins the celebration of an incredible 25 years with an exhibition entitled Foundations and Futures. Since the inception of the organisation, over 300 artists have been through the space either as studio artists, visiting artists, participants in workshops and exhibitions and as winners of award programmes. All of them have been influenced and have influenced the space in many rich and diverse ways. Artists participating in the exhibition Foundations and Futures opening on Friday 28 October 2016 include Blake Daniels; Paul Emmanuel; Jarrett Erasmus; Marie Fricout; Gordon Froud; Carlo Galli; Arash Hanaei; Diana Hyslop; Sharlene Khan; Asanda Kupa; David Koloane; Shenaz Mahomed; Pat Mautloa; Tshepo Mosopa; Ndikhumbule Ngqinambi; Tracey Rose; Usha Seejarim; Lerato Shadi; Johan Thom; Stijn van Dorpe and Mary Wafer. Emmanuel's photogravure etching Scar (2015) was selected by the curators for this exhibition. INTERNATIONAL PRINTMAKING ALLIANCE EXHIBITION Taimiao Art Gallery, Imperial Ancestral Temple, Beijing, China 25 September – 10 October 2017 This international exhibition showcases printmaking works with perspective and constructive features recommended by Alliance members as well as the latest creations based on national culture, history, literature or other materials. Participating artists from South Africa: Dominic Thorburn, Bevan de Wet, Sara-Aimee Verity, Christine Dixie, Vuli Nyoni, Mongezi Ncaphayi, Paul Emmanuel, Vusi Kumalo, Sam Nhlengethwa, Nhlanhla Xaba, Diane Victor, Kagiso Patrick Mautloa, Thama Kase, Michael Taylor, Ina van Zyl, Katherine Bull, Zola Toyi. The South African contingent was curated by Professor Dominic Thorburn of Rhodes University, Eastern Cape, South Africa. Emmanuel's stone lithograph Platform number 5 (2011) was selected for this exhibition. RITES OF PASSAGE: BETWEEN LIGHT AND SHADOW Irma Stern Museum, Cape Town, South Africa 11 – 18 June 2016 Rites of passage are experiences that mark the transition from one phase of life to another; we are wanderers constantly travelling between passageways of light and darkness. These unfolding linear progressions bound to time, or fluid journeys from a past to future-nows, can be understood through Arnold van Gennep’s tripartite pattern of human transitions; ‘detachment’ (movement away from a previous state of being), ‘liminality’ (journeying through a state of ambiguity) and ‘re-aggregation’ (realigning oneself with the shifts and reintegrating into society). These fleeting moments become the markers of living, birth rites, religious or cultural initiation rites, mortuary rites and everything in between, first words, birthdays, educational milestones, and adolescence to adulthood. In contemporary society some of these ceremonial devices, once shared through communal ritualistic practices, have been abandoned, and others transformed to reflect contemporary conditions. Artists extend these rituals into modern life, articulating rites of passage through their practice. They bring our awareness back to these moments of release, transgression and transformation, by documenting, reenacting or translating rites of passage in various mediums. Like the chapters of our stories, these junctures in life are momentous ceremonies that are performed and remembered, or the intimate shifts that silently go unnoticed. We become the product of these experiences. These attuning practices that we design and ascribe meaning to, rights that are scripted and imposed upon us or granted to us, shape our sense of identity. Emmanuel's stone lithographs Number 05000674PV (2009) and Parade of Shadows (2009) were selected by the curators for this exhibition. This exhibition was organised by Sulger-Buel Lovell Gallery. PANEL DISCUSSION: VISUAL MEMORY IN A TIME OF ENDLESS WAR 808 Gallery, Boston University, USA 11 February 2016 Presented in conjunction with Paul Emmanuel: Remnants , this panel will explore collective experiences of loss and mourning and processes of memory and memorialisation in times of global conflict and war. 4 – 6 pm, 11 February 2016. Panelists included: Pamela Allara: Associate Professor Emerita of Brandeis University. Shannen Hill: Associate Curator for African Art, Head of Department Arts of Africa, the Americas, Asia and Pacific Islands, Baltimore Museum of Art. Paul Landau: Professor of History, University of Maryland. Timothy Longman: Director, Boston University African Studies Center. Susan Werbe: Independent Scholar. More information ARTIST TALK Boston University, USA 3 February 2016 A presentation of Emmanuel's project The Lost Men France in conjunction with his exhibition Paul Emmanuel: remnants. 12:30 pm, 3 February 2016. More information FNB JOBURG ART FAIR 2015 Artist Proof Studio Booth, Sandton Convention Centre, Johannesburg, South Africa 11 – 13 September 2015 The FNB JoburgArtFair returned to the Sandton Convention Centre, presenting 50 modern and contemporary exhibitors from 8 countries. Two photogravure etchings, scar (2015) and lesion (2015) were exhibited by Artist Proof Studio. BETWEEN DEMOCRACIES 1989 – 2014: MEMORY AND COMMEMORATION Constitution Hill, Johannesburg, South Africa 1 – 30 September 2015 The theme of this exhibition responds to the emergence from totalitarian rule that has been a historical reality for both East Central and East Southern Europe and South Africa since 1989/1994. It is a collaborative international project and artists considered both the historicisation of transitional trauma and the effects of regime change (both positive and negative) on the collective memories lingering in their respective national psyches. Their responses problematised both past memories and the current direction of social politics. The exhibition will be first hosted in Constitutional Hill, Johannesburg, South Africa, from 1-30 September 2015. This venue was selected because it is an exhibition space that is historically relevant to the fraught history of the struggle for democracy in South Africa. The exhibition will then be presented at the Dom umenia/Kunsthalle Bratislava in March – June 2016. Subsequent venues and dates in Europe to be announced. Curators: Judy Peter (University of Johannesburg, South Africa), Karen von Veh (University of Johannesburg, South Africa), Richard Gregor (Chief Curator of Dom umenia/Kunsthalle Bratislava, Slovakia), Cristian Nae (George Enescu University of Arts, Iasi, Romania), Ljiljana Kolesnik (Institute of Art History, Croatia). PANEL DISCUSSION: ECAS 2015: 6TH EUROPEAN CONFERENCE OF AFRICAN STUDIES Paris-Sorbonne University, France 8 – 10 July 2015 Collective Mobilisations in Africa: Contestation, Resistance, Revolt. The historic turn embodied by the Arab “revolutions”, whose repercussions are felt throughout the Sahel; anger, expressed in a range of ways, at the rising cost of living; mobilisations around issues of citizenship; manifold forms of religious revival: all seem to attest to a profound political reconfiguration underway across Africa. These and associated forms of contestation have pushed new actors to the front of the stage, at the crossroads of local and global dynamics. To fully appreciate the complexity of these developments, we must consider longer-term histories of uprising, stand-taking and engagement on the continent, casting a renewed gaze on jihads, slave uprisings, mass conversions and dynastic conflicts. Too, we must reflect in novel ways on the social trajectories of actors involved in present-day contestations and on the responses that the latter elicit from those in power. This in turn should bring us to pay close attention to repertories of collective action, to modes of transgression and subversion, to takes on activism, and to ways in which all of these intersect with social, generational and gender statuses. Shannen Hill's paper, 'Wearing War, Silencing Soldiers: Art, the Body and Recovered Histories in South Africa' on the panel 'State Censorship and State Sponsorship in Contemporary African Arts' convened by Lisa Brittan and Gary Van Wyk, was presented at this conference. TURBINE ART FAIR 2015 Art Source South Africa Booth, Turbine Hall, Johannesburg, South Africa 16 – 19 July 2015 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. Two photogravure etchings, scar (2015) and lesion (2015) were exhibited by Art Source South Africa. TWENTY: ART IN THE TIME OF DEMOCRACY FADA Gallery, University of Johannesburg, South Africa 11 July – 7 August 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. BATTLEGROUND Standard Bank Gallery, Albany History Museum, National Arts Festival, Grahamstown, South Africa 2 – 12 July 2015 Curator Michael Godby’s exhibition is a response to the challenge of showing Charles Bell’s 60 drawings of the War of the Axe in Grahamstown, the very territory that was fought over during the Wars of Dispossession, and to viewers, most of whom would have been constructed as the ‘enemy’ in Bell’s account of the war. The challenge is met in two ways. First, the drawings themselves are contextualised in a series of installations. Bell had been in Grahamstown before the war broke out adjudicating land claims relating to the 1820 settlers: display of contemporary surveying equipment and relevant maps will underline the point that first and foremost, this war was about the colonial acquisition of land. Similarly, Bell’s image of the Xhosa represents a significant change from earlier idealised views and is derived in large measure from contemporary racial theories that can be illustrated from books of the time. Such prejudices are also apparent in many of the newspaper reports of the war which will be reproduced as text panels in the exhibition. And installations of muskets and swords from the period will make the suggestion that Bell’s drawings were every bit as much an offensive weapon as the actual instruments of war. The second part of the exhibition comprises recent representations of the War of the Axe and related Wars of Dispossession. These include new versions of historical events, by both black and white artists, that give a very different account of the wars. Other works isolate the pictorial language of colonial artists, notably steel engraving and perspective, to show how these elements are implicated in the colonial project. Other works again challenge the construction of masculinity inherent in Bell’s, and others’ accounts of the wars. And several works lament the tragic waste of life that occurred in these wars. A voile panel from Paul Emmanuel's Lost Men Grahamstown (2004) was selected for this exhibition. More information REPRESENTATIONS OF OTHERNESS AND RESISTANCE Johannes Stegmann Art Gallery, University of the Free State, Bloemfontein, South Africa 20 May – 19 June 2015 The Johannes Stegmann Art Gallery presents the exhibition "Representations of Otherness and Resistance" in collaboration with the Centre for Africa Studies at the University of the Free State (UFS) from the 20th of May to 19th of June 2015. The exhibition is part of a five year multi-disciplinary project that seeks to capture the mult-layered nuances of spatial, temporal and sonic dynamics within the context of Africa (and more specifically South Africa) as these relate to the core pillars of various artistic and alternative creative forms of representation of otherness and resistance. The exhibition runs together with a colloquium, seminars and the Africa Day Memorial Lecture by Prof Alcinda Honwana planned for the week of the 20th of May. A critical dialogue session on the exhibition also takes place on the 21st of May, facilitated by Prof Pumla Gobodo-Madikizela. The exhibition is co-curated by Annali Dempsey from the UJ Art Gallery and Angela de Jesus (UFS). It includes a selection of works from institutional collections namely, the Oliewenhuis Art Museum, William Humphrey's Art Gallery, University of Johannesburg and University of the Free State collections. The exhibition is presented with an exhibition catalogue which includes academic articles by Prof Heidi Hudson (UFS), Prof Pumla Gobodo-Madikizela (UFS), Landi Raubenheimer (UJ) and Wilhelm van Rensburg (UJ). 3SAI: A Rite of Passage (2008) was selected by the curators for this exhibition. 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. 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) has been selected by the curator for this exhibition. More information TWENTY: CONTEMPORARY ART FROM SOUTH AFRICA Turchin Center for the Visual Arts, Appalachian State University, North Carolina, USA 11 July 2014 – 7 February 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. RETURN TO THIEPVAL: IMPRINTING AND ERASING MEMORIES OF THE FIRST WORLD WAR Alliance Française, Johannesburg & Cape Town, South Africa 11 & 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. DOING HAIR: ART AND HAIR IN AFRICA Wits Art Museum, Johannesburg, South Africa 20 August – 2 November 2014 This exhibition celebrates the creativity, individuality and innovation in hairstyling and art, in South Africa, and in other parts of the African continent. The exhibition is sponsored by Black Like Me, South Africa’s iconic hair care company. This partnership between WAM and Black Like Me, the company who revolutionised the South African hair care industry in the 1980s, makes possible an exciting and highly topical exhibition. The political, social, cultural and economic implications of hair and hairdressing are explored in the exhibition. It also looks at how hair communicates information about age, religious affiliation, social status, political ideologies and aspirations. Extraordinary objects that are used to protect, style and adorn hair, historical and contemporary artworks, barbershop posters, films and installations from Wits Art Museum and other public and private collections are included. Emmanuel's short film 3SAI: A Rite of Passage (2008) was selected by the curators for this exhibition. TURBINE ART FAIR 2014 Art Source South Africa Booth A16, Turbine Hall, Johannesburg, South Africa 17 – 20 July 2014 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. WALDSEE 1944 2B Gallery, Budapest, Hungary 6 June – 2 July 2014 The exhibition of works by Hungarian and international artists at the 2B Gallery is a tribute to the 565,000 Hungarian Jews who perished in World War II. The unanswered letters from 1944, Auschwitz turn into postcards with the help of the artists. The project started in 2004 and has been steadily growing with many new works since then. We will exhibit the works of 110 artists upon the 70th anniversary of the Holocaust. The Lost Men Grahamstown I (2004) was selected by the curators for this exhibition. MY JOBURG Staatliche Kunstammlungen, Dresden, Germany 26 October 2013 – 5 January 2014 The Johannesburg art scene – an exhibition by the Galerie Neue Meister (New Master Gallery) of the Staatliche Kunstsammlungen Dresden at the Kunsthalle in the Lipsiusbau. From October 26, 2013 to January 5, 2014, Staatliche Kunstsammlungen Dresden will be showing the temporary exhibition My Joburg. The Johannesburg art scene. It was previously held with great success at La Maison Rouge – Fondation Antoine de Galbert in Paris. The exhibition presents works by some 50 artists. Photographs, installations, sculptures, sketches and videos tell visitors about the buzzing art scene in Johannesburg, a city that is home to eight million and shaped by social upheaval. My Joburg was organised by La Maison Rouge – Fondation Antoine de Galbert, Paris, with the support of the National Art Council (NAC) of the Republic of South Africa and the Institut Français, under the curatorial direction of Paula Aisemberg and Antoine de Galbert. number 05000674PV (2009) was selected by the museum's curators for this exhibition. Contemporary & announcement La Maison Rouge press release [PDF] CONFÉRENCE DE PAUL EMMANUEL EESI/École européenne supérieure de l'image, Angouléme, France 8 October 2013 Après la projection de son court-métrage 3SAI : A Rite of Passage (2008), Paul Emmanuel, artiste sud africain, retracera la création de ses projets Transitions (2008) et The Lost Men (2004 – ). Il parlera également de sa nouvelle création “Touch me” (2013), présentée en avant-première au Cube, Centre de Creation Numerique, Issy-Les-Moulineaux. Il s’agit d’une œuvre tactile visuelle et sonore qui explore les idées liées à la mémoire et aux souvenirs. Touch me fait partie d’un projet global appelé The Lost Men France (2014) coïncidant avec les commémorations des 100 ans du début de la première guerre mondiale durant laquelle de nombreux soldats sud-africains sont tombés. Paul Emmanuel y présente son corps en plan serré, tantôt vêtu de tenues de cérémonie militaires historiques ou contemporaines, tantôt habillé comme un employé d’entreprise. Une bande-son de la voix de l’artiste invite le spectateur à toucher l’écran tactile, provoquant l’habillage et le déshabillage des différentes zones de son corps et révélant sa peau, temporairement marqué des noms de soldats Sud-africains de la Première Guerre mondiale, mais aussi des victimes de la grève de Marikana Miner (2012) et de l’incursion armée de la République Centrafricaine en 2013. Ces impressions fugitives disparaissent ou réapparaissent tant que le spectateur continue à le toucher, évoquant une "guérison" ou une "nouvelle blessure" répétée de la peau. “TOUCH ME” (South Africa – France Seasons 2012-2013) Le Cube, Issy-les-Moulineaux, Paris, France 1 – 30 October 2013 Exploring the concepts of memory & memorial, "Touch me" (2013) is a high-tech, touch-sensitive, video & sound artwork created by Paul Emmanuel. It is a non-partisan complement to his Lost Men France planned for the 2014-18 Centenary of World War One. “Touch me” portrays a progression of closely-cropped, video vignettes of Emmanuel's body either fully exposed or clothed in historic & contemporary military regalia or in formal corporate attire. A soundtrack of the artist's voice invites the viewer to touch the 'sensitive screen' or 'skin', provoking the enrobing & disrobing of different areas of his body, revealing & concealing his skin temporarily branded with the names of casualties of armed-conflict. These fleeting impressions fade or re-appear as the viewer continues touching – evoking a repeated ‘healing’ or 're-wounding' of the skin. "Touch me" depicts the names of both black & white South African First World War servicemen, pressed into the artist’s body alongside those of the Allies & Germans. Further unveilings also reveal South Africa's involvement in The Second World War, Korean War, Angolan Bush War, the 2012 Marikana Miner's Massacre & the 2013 Central African Republic Conflict. The exhibition of "Touch me" (2013) at Le Cube is organised as part of the South Africa-France Seasons 2012 & 2013. MY JOBURG La Maison Rouge: Fondation Antoine de Galbert, Paris, France 20 June – 23 September 2013 La Maison Rouge continues the series of exhibitions focusing on the arts scene in major provincial cities. After MY WINNIPEG (Manitoba, Canada), an exhibition presented during the summer 2011, the second of the cities will be Johannesburg (South Africa). number 05000674PV (2009) was selected by the museum's curators for this exhibition. An event on the occasion of the Seasons South Africa 2012/2013 in France in partnership with Institut Français. Contemporary & announcement La Maison Rouge press release [PDF] 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 group exhibition. LES ÉCRANS DE LA LIBERTÉ: DIGITAL ANTHROPOLOGY FESTIVAL 2013 Le Cube, Issy-les-Moulineaux, Paris, France 20 – 21 March 2013 Le Cube and Les Écrans de la Liberté propose two days of discoveries and meetings centred on anthropology and new media with film projections and round-table discussions with authors and anthropologists. Today, digital technology is opening up numerous possibilities for driving all possible forms of association between images, sounds and texts. In this way, they are forging a new instrumental reason that today raises the need for new creations at the crossroads between digital art, anthropology and social science in conjunction with other disciplines such as neuroscience. More and more frequently, realities addressed by anthropologists are often crossed by geopolitical tensions, economic and social crises, emergencies, migratory flows and discriminations which confront a large number of communities and people. This idea of 'interculturality', which is progressively becoming a more core part of investigations and studies, promotes and necessitates new areas of research and expression. But also, and maybe even above all, 'interculturality' tends to create its own field where one's views undergo profound changes thanks to others’ views, moving us towards other methods for universalism. The aim of these two days is to promote the taking into account of these unique writings which integrate interactions, multiple points of view and collective creations, and even a sensory approach to all types of personal accounts. By giving form to their sensory apprehensions, they develop these elements which are essential to contextualising the subjects in question. Paul Emmanuel’s 14-minute film 3SAI: A Rite of Passage (2008) was selected by Les Écrans de la Liberté to be screened at Le Cube for this festival. AT HOME WITH THE LUDSKIS: MIDNIGHT MASS (Edition #7) 10th London Short Film Festival, Rio Cinema, London, UK 12 January 2013 At Home with the Ludskis: Midnight Mass (Edition # 7) – a multidisciplinary event held at the famous Rio Cinema as part of the 10th London Short Film Festival, brings together intriguing and inspiring moving image makers, artists, music makers and performers for a unique late night art club, curated by Granny Ludski. 3SAI: A Rite of Passage (2008) was chosen after a call for artists sent out by guest curator Christine Eyene, invited to take part in this Midnight Mass by its host Granny Ludski. THE ART OF BANKING: CELEBRATING THROUGH COLLECTIONS Standard Bank Gallery, Johannesburg, South Africa 16 October – 1 December 2012 The exhibition marks Standard Bank's 150th year in banking. Works on the exhibition are drawn from the Standard Bank Corporate Art Collection, taking viewers on a decade by decade journey through South Africa's history over the 150 years of the bank's existence. It includes works by renowned South African artists such as John Mohl, Gerard Sekoto, Jacob Hendrik Pierneef, Brett Murray, Johannes Phokela, William Kentridge, Durant Sihlali, Sam Nhlengethwa, Trevor Makhoba, David Goldblatt, Alexis Preller, Penny Siopis and Wim Botha. A display drawn from the rich archival and artefact collection of the Standard Bank Heritage Centre focuses on the 150-year history of Standard Bank. It comprises three components: The first covering the period up to 1987 traces the institution's history and growth into a major financial services organisation; the second describes the bank's expansion into Africa and other parts of the world, and tells the story of the journey to self-service banking through technological innovations; a third component includes an old banking hall, showcasing furniture and equipment used in previous eras. Air on the Skin (2002) was selected by the curators from the Standard Bank Collection for this exhibition. 21BF: THE BAG FACTORY'S 21ST ANNIVERSARY EXHIBITION Turbine Hall & Fordsburg Artists’ Studios, Johannesburg, South Africa 3 August – 10 September 2012 The purpose of this exhibition is to celebrate the Bag Factory and its affiliated artists' achievements over the past 21 years. Curated by Melissa Goba. NOT MY WAR Michaelis Galleries, University of Cape Town, South Africa 29 June – 25 July 2012 Not My War is an exhibition of works by significant South African artists that have reflected on their country’s involvement in border wars in Northern Namibia and Southern Angola during the 1960s to 1980s. Marking the 25th anniversary of the war’s bloodiest and most decisive battles, most notably at Cuito Cuanavale, Not My War looks at how these artists have been impacted by and responded to what is now commonly referred to as the Border War. Furthering the resurgence of dialogue around this ‘silent war’, the exhibition will endeavor to engage the complex personal and institutional discourse surrounding this conflict, as well as highlight the war’s continuing relevance and effect on South African society. Curated by David Brits, participating artists are Wayne Barker, Christo Doherty, Paul Emmanuel, John Liebenberg, Jo Ractliffe, Colin Richards, Chad Rossouw, Penny Siopis, Christopher Swift and Gavin Younge. Exhibition and catalogue text by Natasha Norman. Emmanuel's short film 3SAI: A Rite of Passage (2008) and his manière noire stone lithograph titled number 05000674PV (2009) were selected by the curator for this exhibition. More information 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. Emmanuel's manière noire stone lithograph titled number 05000674PV (2009) was selected by the curators for this exhibition. DAK’ART 2012 press release [PDF] Art Source South Africa press release [PDF] 9th IN THE PALACE INTERNATIONAL SHORT FILM FESTIVAL Old Cinema Hall, Balchik, Bulgaria 18 – 25 June 2011 IN THE PALACE is an international festival for professional short films of up to 45 minutes in length. It is held each year in the second half of June in the Black Sea town of Balchik. Established in 2003, the festival had grown from a competitive forum for student films into the largest and most prestigious short film festival in Bulgaria and the region. Nearly 250 short films from 44 countries, selected out of over 4000 titles, competed in the last edition of the festival. Our goal is to present and contribute to the development of contemporary film art in Bulgaria, Europe and the world, creating a favourable environment and platform for young filmmakers and established professionals. 3SAI: A Rite of Passage (2008) was officially selected for this festival and was nominated for the Best Experimental Film award. The festival was attended by Emmanuel and Taryn Cohn of Art Source South Africa. In The Palace Festival Awards and Nominations [PDF] BLACK BOX Smart Museum of Art, University of Chicago, USA 9 November 2011 – 2 January 2012 On view November 9, 2010 through January 2, 2011 as part of our year-long Black Box series of single-channel video screenings. Paul Emmanuel’s short film 3SAI: A Rite of Passage (2008) meditates on masculine identity in post-Apartheid South Africa. The work focuses on a mixed-race group of military recruits whose heads are being shaved – part of a process that turns individual young men into a collective of soldiers. Emmanuel emphasises this process of transformation through editing that moves with increasing speed from one close-up to another, each man blurring into the next. He intersperses footage of the head-shaving ritual with luscious tracking shots of an expansive, golden landscape in which rows of white shirts flutter like flags or peace offerings. Emmanuel’s work was recommended to the Smart Museum by Jane Taylor, a South African curator and scholar, and Visiting Professor in the Department of English Languages and Literature. 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 & LAB: International Animation & 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. 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. Sardinia Film Festival Programme 2010 [PDF] Sardinia Film Festival: Comunicato del 26 giugno 2010/Press release of June, 26th [PDF] Media Update announcement 19th SÉQUENCE COURT-MÉTRAGE INTERNATIONAL FILM FESTIVAL Toulouse, France 19 August – 28 November 2010 For more than seventeen years the Séquence Court-Metrage International Short-Film Festival supports and emphasises the unique qualities offered by short film through a series of competitions and themed programs. The Festival continues to develop Short-Version Cinema, building on new exchanges and partnerships. It showcases artistic visions inspired by international dialogue, originality and open-mindedness. Creativity is at the heart of Séquence’s philosophy and the Festival exhibits all genres of short film, from fiction, animation and documentary to experimental; both professional and amateur; and on either silver or digital supports. 3SAI: A Rite of Passage (2008) has been officially selected to be screened at this festival 2010. VIDEOGUD: 10th VIDEO KONST FESTIVAL Uppsala Konsert & 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. 39th INTERNATIONAL FILM FESTIVAL ROTTERDAM Rotterdam, The Netherlands 27 January – 7 February 2010 The International Film Festival Rotterdam (courtesy Wikipedia) is an annual film festival held in various cinemas in Rotterdam, Netherlands at the end of January. It is one of the larger film festivals in Europe, arguably in the Big Five, alongside Cannes, Venice, Berlin, and Locarno. The festival uses a tiger as its mascot. 3SAI: A Rite of Passage (2008) has been officially selected to be screened at this festival 2010. 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 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. African Film Database Africa-in-Motion Film Festival press release [PDF} Art Source South Africa press release [PDF] 12TH ANTIMATTER FILM FESTIVAL Open Space Arts Centre, Victoria, Canada 9 – 17 October 2009 Dedicated to the exhibition and nurturing of film and video as art, Antimatter has grown into the premier showcase of experimental cinema in the west. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive festival setting in Victoria, British Columbia, free from commercial and industry agendas. The highest standards of curatorial practice are employed to build thematic programs of innovative film and video selected from international submissions. In addition, the annual Foreign Matter series has become the incubator for hundreds of short films, all new to North American audiences, compiled and contextualized by international curators. The short film 3SAI: A Rite of Passage (2008) was officially selected for screening at this film festival on Friday 16 October at 7pm. ADDING SUBTRACTIONS Fordsburg Artists’ Studios, Johannesburg, South Africa 18 June – 10 July 2009 Visiting curator Daniella Géo invited twenty five South African and international artists to participate in this exhibition. South African visual art shows a noteworthy prevalence of found footage, assemblage, collage, series, sequencing, weaving and sampling. If, on the one hand, these artistic strategies may reflect scarce economic resources, on the other, they symbolise the gathering of history's fragments – whether private or collective. Older and younger generations alike rearrange analog or distinct elements in order to reinforce or subvert a certain reality, thereby creating new socio-political and time-space relations. Art is construction, but by adopting the above practices, artists highlight the gestures of de- and re-constructing. These acts evoke not only criticism, questioning and the search for meaning, but also stimulate memories of what has been left behind. Most works relate, even if indirectly, to their historical and cultural framework. Subjects and approaches vary – from personal to universal issues, and from emotional to logical viewpoints – as do artists' trajectories. In a rather improbable combination, the Adding Subtractions exhibition brings together works of diverse media, concepts and aesthetics, following a collage-like perspective, proposing a revisitation of South African contemporary art production. – (Fordsburg Artists Studios) Twelve Phases of Orange (2002) was selected for this exhibition. DESIGN INDABA EXPO FILM FESTIVAL Cape Town International Convention Centre, South Africa 27 February – 1 March 2009 The Design Indaba Expo annually showcases a selection of South African advertising, architecture, craft, décor, film, fashion, graphic design, interior design, jewellery, furniture, industrial design, new media, publishing and product design – all under one roof. The film exhibition showcases South African short films, music videos and animation. Selected by a curation team, films may not exceed 12 minutes in length. Thorough research is done and various filmmakers are approached and invited to submit their film. The festival is open to viewing by Design Indaba Expo visitors and it is screened in between fashion shows, which take place around the Fashion Ramp on the Expo floor. (www.designindaba.co.za) (2009) 3SAI: A Rite of Passage (2008) was officially selected for this film festival. NAVIGATING THE BOOKSCAPE: ARTISTS BOOKS AND THE DIGITAL INTERFACE (2) FADA Gallery, University of Johannesburg, South Africa 5 – 13 October 2006 Curator David Paton invited five artists to produce a work for a show of traditional and contemporary 'artists books' to "... open up questions around what the digital interface can bring to the conventions of the codex." – (Robyn Sassen). The exhibition featured an interactive work, The Lost Men Project (Grahamstown) (2006) – a digital program running on a computer concealed within a custom-designed pedestal supporting a touch sensitive monitor and headphones. A soundtrack entices the viewer to touch the screen depicting a photographic close-up of the artist’s skin bruised with embossed names. Each successive touch induces a change of image as the names slowly disappear. More information NAVIGATING THE BOOKSCAPE: ARTISTS BOOKS AND THE DIGITAL INTERFACE (1) Aardklop Arts Festival, Potchefstroom, South Africa 25 – 30 September 2006 Curator David Paton invited five artists to produce a work for a show of traditional and contemporary 'artists books' to "... open up questions around what the digital interface can bring to the conventions of the codex." – (Robyn Sassen). The exhibition featured an interactive work, The Lost Men Project (Grahamstown) (2006) – a digital program running on a computer concealed within a custom-designed pedestal supporting a touch sensitive monitor and headphones. A soundtrack entices the viewer to touch the screen depicting a photographic close-up of the artist’s skin bruised with embossed names. Each successive touch induces a change of image as the names slowly disappear. Catalogue PDF Review by Christo Doherty BAG FACTORY ARTISTS UNISA Art Gallery, University of South Africa, Pretoria, South Africa 6 July – 26 August 2005 A group show of permanent artists from Fordsburg Artist’s Studios, also known as The Bag Factory. Two editioned photographs and a documentary from The Lost Men Grahamstown (2004) were shown. WALDSEE, 1944 Hebrew Union College Museum, New York, USA July 2005 The 2B foundation and the Alma on Dobbin Foundation invited selected artists to participate in this touring exhibition with a postcard size work that reflected on these events of 60 years ago. The show featured The Lost Men Grahamstown I (2004). “... The letters of Holocaust victims are today preserved in archives. The postcards, letters and scraps of paper are unique documents of forced labour and deportation. They were written in the shadow of death, in most cases in the last moments of their authors’ lives. (Waldsee 1944 catalogue). In the summer of 1944, recently deported persons sent postcards to Budapest from a certain place called Waldsee. The postcards were handed to the Jewish Council in Budapest to be distributed by them to the addressees. The text of the postcards would read: ”I am doing fine, I am working.” or ”I have arrived safely. I have got work in my occupation.” or ”We are doing fine. Follow us here!” It was later discovered that the postcards came from Auschwitz...” (Hedwig Turai) Waldsee 1944 also toured to Florida Holocaust Museum, Florida, USA; St. Petersburg, Russia (Sept – Dec 2006); Hibel Museum, FAU-Jupiter, Florida, USA (Jan – March 2007); Ben Uri Gallery, London, UK (Autumn 2007); and Alper JCC, Miami, Florida, USA (April – June 2008). WALDSEE, 1944 Collegium Hungaricum, Berlin, Germany May 2005 The 2B foundation and the Alma on Dobbin Foundation invited selected artists to participate in this touring exhibition with a postcard size work that reflected on these events of 60 years ago. The show featured The Lost Men Grahamstown I (2004). “... The letters of Holocaust victims are today preserved in archives. The postcards, letters and scraps of paper are unique documents of forced labour and deportation. They were written in the shadow of death, in most cases in the last moments of their authors’ lives. (Waldsee 1944 catalogue). In the summer of 1944, recently deported persons sent postcards to Budapest from a certain place called Waldsee. The postcards were handed to the Jewish Council in Budapest to be distributed by them to the addressees. The text of the postcards would read: ”I am doing fine, I am working.” or ”I have arrived safely. I have got work in my occupation.” or ”We are doing fine. Follow us here!” It was later discovered that the postcards came from Auschwitz...” (Hedwig Turai) Waldsee 1944 also toured to Florida Holocaust Museum, Florida, USA; St. Petersburg, Russia (Sept – Dec 2006); Hibel Museum, FAU-Jupiter, Florida, USA (Jan – March 2007); Ben Uri Gallery, London, UK (Autumn 2007); and Alper JCC, Miami, Florida, USA (April – June 2008). NEW BEGINNINGS: THE BEST OF THE STANDARD BANK CORPORATE ART COLLECTION Standard Bank Gallery, Johannesburg, South Africa 4 March – 9 April 2005 This was a comprehensive exhibition of works from the Standard Bank Corporate Collection to celebrate the opening of the newly renovated Standard Bank Gallery in Johannesburg. Air on the Skin (2002) (Standard Bank Collection) was included in this exhibition. MAKING WAVES: A SELECTION OF WORKS FROM THE SABC ART COLLECTION Johannesburg Art Gallery, South Africa 3 November 2004 – 8 March 2005 This was the second exhibition of artworks from the SABC art collection, primarily exhibiting works acquired since 1996. The show included Vault of Breath (2000) and was curated by Koulla Xinisteris and Graham Neame. ‘Making Waves’ was also shown at Iziko Good Hope Gallery at the Castle of Good Hope, Cape Town from September 6 to October 28, 2007 as well as The Grahamstown and Military Galleries, and The Albany History Museum from June 29 to July 8, during the 2006 Grahamstown National Arts Festival. WALDSEE, 1944 2B Galéria, Budapest, Hungary April 2004 The 2B foundation and the Alma on Dobbin Foundation invited selected artists to participate in this touring exhibition with a postcard size work that reflected on these events of 60 years ago. The show featured The Lost Men Grahamstown I (2004). “... The letters of Holocaust victims are today preserved in archives. The postcards, letters and scraps of paper are unique documents of forced labour and deportation. They were written in the shadow of death, in most cases in the last moments of their authors’ lives. (Waldsee 1944 catalogue). In the summer of 1944, recently deported persons sent postcards to Budapest from a certain place called Waldsee. The postcards were handed to the Jewish Council in Budapest to be distributed by them to the addressees. The text of the postcards would read: ”I am doing fine, I am working.” or ”I have arrived safely. I have got work in my occupation.” or ”We are doing fine. Follow us here!” It was later discovered that the postcards came from Auschwitz...” (Hedwig Turai) Waldsee 1944 also toured to Florida Holocaust Museum, Florida, USA; St. Petersburg, Russia (Sept – Dec 2006); Hibel Museum, FAU-Jupiter, Florida, USA (Jan – March 2007); Ben Uri Gallery, London, UK (Autumn 2007); and Alper JCC, Miami, Florida, USA (April – June 2008). 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 I (2003) 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. Article by Kathryn Smith, Art South Africa magazine THE BIG BAG SHOW Goodman Gallery, Johannesburg, South Africa 27 January – 17 February 2001 A group exhibition and auction of donated works by permanent artists from Fordsburg Artist's Studios (a.k.a. The Bag Factory) was held to raise funds for this artists'‘ collective. An impression from the Phone-sense (1998) edition was auctioned and Vault of Breath (2000) was included in the exhibition, courtesy of the SABC Art Collection. Article by Bettie Lampbrecht, Beeld newspaper POSTCARDS FROM SOUTH AFRICA Axis Gallery, New York, USA 10 September – 16 December 1998 This was a group show of postcard-sized artworks from South Africa curated by Lisa Brittan and Gary Van Wyk. GRAFIK – SYDAFRIKA Grafiska Sällskapets Galleri, Stockholm, Sweden 28 November – 16 December 1998 This group exhibition, curated by Mattias Fagerholm, featured work by several Swedish printmaking artists, as well as an impression from the artist's own Sleep Series IV (1995). BAG FACTORY GROUP EXHIBITION Mexican Embassy, Pretoria, South Africa 1997 -- ARTISTS BOOKS IN THE GINSBERG COLLECTION Johannesburg Art Gallery, South Africa 1996 1996 is the Centenary of the death of William Morris (1834-1896). Over one hundred years after Morris 'defined' the fine press book, his words still hold true: f I were asked to say what is at once the most important production of Art and the thing most to be longed for, I should answer, ‘a beautiful house’; and if I were further asked to name the production next in importance and thing next to be longed for, I should answer, ‘a beautiful book’. This exhibition is curated in the form of a book. The visitor begins a reading of the show with a 'preface' which introduces some parameters and issues within the book arts. It then develops through a number of chapters through which the artist's book is decoded and revealed. Many of my chapters have been derived from Johanna Drucker’s chapter headings in her seminal book The Century of Artists' Books (1995). Emmanuel's student work Nomina Sunt Numina (1993) was selected for this exhibition. As one moves through the 'spine' of the exhibition, bindings and books which use the spine and gutter as important aspects of their content are shown. The exhibition ends with an 'endnote' in which questions about the nature of Artists' Books are asked and future thematic and material possibilities within the field postulated. Thus the visitor reads the book by moving through the exhibition. Curated by Jack M. Ginsberg and David M. Paton. (courtesy South African Artists Books website) More information THE FIRST FOUR YEARS The Civic Gallery, Johannesburg, South Africa 1995 -- PRINT – EXCHANGE Co-operation printmaking project between Flanders and South Africa 1995 Cooperation 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." 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 hereunder. In a black drop-back box by Peter Carstens with antique marbling. (courtesy South African Artists Books website) OPEN BITE: A NEW LOOK AT INTAGLIO PRINTMAKING Civic Gallery, Johannesburg, South Africa 1994 -- Essays and journal articles | Paul Emmanuel ESSAYS AND JOURNAL ARTICLES 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 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 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 Mark Auslander and Pamela Allara Platform Number 5: Paul Emmanuel 'Art Beyond Quarantine', Online blog, Mark Auslander, June, 2020 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 Ellen Schasttschneider, Mark Auslander and Pamela Allara Ex Unitate Vires: Paul Emmanuel 'Art Beyond Quarantine', Online b log , Mark Auslander, April, 2020 Mark Auslander Veil 1954: Paul Emmanuel 'Art Beyond Quarantine', Online b log , Mark Auslander, April, 2020 Pamela Allara Carbon dad 2017: Paul Emmanuel 'Art Beyond Quarantine', Online b log , Mark Auslander, March, 2020 Pamela Allara and Mark Auslander Between Men and Monuments: The Art of Paul Emmanuel 'Art Beyond Quarantine', Online b log , Mark Auslander, March, 2020 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 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 Johan Thom Impermanence: Paul Emmanuel 'Paul Emmanuel: Impermanence', Fried Contemporary Gallery, Pretoria, South Africa, March, 2018 Matthijs Sluiter The Lost Men Project 'Fonts in Use', Fonts in Use LLC, Oakland, California, USA, 2018 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 Pamela Allara Paul Emmanuel: The Counter-memorial in the Age of Permanent War 'Aesthetic Justice', College Art Association Conference, New York, USA, February, 2017 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 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 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 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 Dominic Thorburn Borderline – Sweeping a Mind Field ‘Borders & Crossings’ IMPACT 8 International Printmaking Conference, University of Dundee, Scotland, UK, August, 2013 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 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 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 Michael Smith FNB Joburg Art Fair Featured Artist Paul Emmanuel 'ArtThrob', ArtThrob, Cape Town, South Africa, 2011 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 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, Ocober 2008. ISSN 1751-1712 (print) 1751-1720 (online) André Croucamp Conversations on the Transience of Light 'Transitions', Art Source South Africa, Johannesburg, South Africa, 2008 ISBN 978-0-620-41945-1 Aryan Kaganof Interview with Paul Emmanuel 'Kagablog', Online blog, Aryan Kaganof, Johannesburg, South Africa, 2008 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 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 Robyn Sassen Attention Seeking Images 'IMPACT International Printmaking Conference', Tallinn, Estonia, 2006 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 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 Julia Charlton Drawing out of the Darkness: Contemplating after-image 'After-image', Paul Emmanuel, Johannesburg, South Africa, 2004 ISBN 0-620-32295-0 Lisa Cohn The Lost Men 'ITCH', Volume 1 Issue 1, Bell Roberts Publishing, Cape Town, South Africa, 2003 ISBN 0-6203-1894-5 Press reviews | Paul Emmanuel PRESS REVIEWS 2021 Ntwasa, T. ARTIST QUESTIONS OUR PLACE IN THE WORLD – USING FASHION AS THE CANVAS, TimesLive in Sunday Times Newspaper, Johannesburg, South Africa, October. 2021 Delmont, L. PAUL EMMANUEL SUBSTANCE OF SHADOWS AT UNIVERSITY OF JOHANNESBURG ART GALLERY UNTIL 2ND OCTOBER , Lizatlancaster Guest House , Johannesburg, South Africa, September. 2021 Myburg, J. SUBSTANCE OF SHADOWS: ONTHOU SKYN SOOS LIG DEUR , Netwerk24 , Johannesburg, South Africa, September. 2021 Auslander, M. ALTERED CARBON: DRAMAS OF DETACHMENT, Moving Cube , University of Johannesburg Art Gallery, Johannesburg, South Africa, September. 2021 Ngidi, S. JUNE 16: REDEMPTION THROUGH NEGATION , Mail & Guardian , Johannesburg, South Africa, June. 2021 Delmont, L. PAUL EMMANUEL’S MEN AND MONUMENTS , Lizatlancaster Guest House , Johannesburg, South Africa, May. 2021 Khumalo, A. REVIEW: WAM EXHIBITION A GHOSTLY MEMORIAL TO MEN LOST TO WAR , Wits Vuvuzela , Johannesburg, South Africa, April. 2020 Hart, G. PAUL EMMANUEL’S MEN AND MONUMENTS: A TENDER PERSPECTIVE ON MASCULINITY AND THE MILITARY MACHINE , Bubblegumclub , Johannesburg, South Africa, March. 2020 Allara, P and Auslander, M. BETWEEN MEN AND MONUMENTS: THE ART OF PAUL EMMANUEL , Art Beyond Quarantine , Blogger, Google, California, USA, March. 2020 Auslander, M. VEIL 1954: PAUL EMMANUEL , Art Beyond Quarantine , Blogger, Google, California, USA, April. 2020 Allara, P. CARBON DAD 2017: PAUL EMMANUEL Art Beyond Quarantine , Blogger, Google, California, USA, April. 2018 Sassen, R. YOUR NAME, MY BODY in My View: The Arts at Large , online blog at WordPress.com, Automattic Inc., San Francisco, California, USA. April. 2018 Sluiter, M. THE LOST MEN PROJECT , in Fonts in Use , Fonts in Use LLC, Oakland California, USA, March. 2017 Emmanuel, P. PAUL EMMANUEL: ARTISTS AT WORK in Creative Feel magazine, DeskLink Media, Johannesburg, South Africa. April. 2017 Britz, E. PAUL EMMANUEL SE AANGRYPENDE ‘REMNANTS’ IN ROSESTAD in Volksblad , Media24, Bloemfontein, South Africa. May. 2016 McQuiad, C. MEMORIALS, ETHEREAL AND ELEGIAC, AT BOSTON UNIVERSITY in The Boston Globe , Boston Globe Media Partners LLC, Boston, USA. February. 2016 O'Rourke, J. A GHOSTLY TRIBUTE TO THE FALLEN OF WORLD WAR I in BU Today , Boston University, Boston, USA. February. 2016 Werbe, S. 'REMNANTS' – REVIEW OF SOUTH AFRICAN ARTIST'S SOMME EXHIBITION IN BOSTON in Centenary News: First World War 1914-1918 , Centenary Digital Ltd, London, UK. March. 2015 Stehle, R. OORBLYFSELS VAN 'ANTIMONUMENT' NOU IN VRYHEIDSPARK UITGESTAL , in Beeld , Media24, Johannesburg, South Africa, June. [PDF] 2014 Jones, J. WHY NUDES ARE A FITTING TRIBUTE TO THE SOMME'S FALLEN SOLDIERS , in The Guardian , Guardian News and Media Limited, London, August. 2014 Castro, P. THE LOST MEN, CONTRA-MEMORIAL DE PAUL EMMANUEL EN LOS CAMPOS DE BATALLA DE SOMME, in Catálogodiseño , Inversiones Diseño Medios, Colombia, Chile, August. 2014 Azzarello, N. PAUL EMMANUEL INSTALLS COUNTER-MEMORIAL ON FRANCE'S SOMME BATTLEFIELDS , in designboom , designboom magazine, Milan, Italy, August. 2014 Stehle, R. KUNS WAT WAPPER, in Beeld , Media24, Johannesburg, South Africa, July. 2014 Watterson, L. (editorial). THE LOST MEN OF FRANCE , in Classicfeel , DeskLink Media, Johannesburg, South Africa, August. 2014 Malexis, S. DIX QUESTIONS POUR UN CENTENAIRE , in Le Monde , 14-18 Les leçons d'une guerre, Les enjeux d'un centenaire, Le Monde, Paris, France, February-March. 2013 IFAS-Culture & Research. PUBLIC INSTALLATION AS PART OF THE OFFICIAL COMMEMORATION OF THE WORLD WAR ONE CENTENARY IN FRANCE , in Extra! magazine, Institut Français, Johannesburg, South Africa, December. 2013 Alhadeff, P. SOUTH AFRICAN ARTIST'S WORK "THE LOST MEN FRANCE" TO REMEMBER SOLDIERS KILLED ON THE SOMME , in Centenary News online news bulletin, Centenary Digital Ltd. London, UK, December. 2013 Michel, N. AFRIQUE DU SUD: UNE EXPOSITION SUR JOHANNESBURG À LA MAISON ROUGE DE PARIS , in Jeune Afrique online news bulletin, DIFCOM, Paris, France, July. 2012 Emmanuel, P. PAUL EMMANUEL IN FRANCE , in Classic Feel magazine, Desklink Media, Johannesburg, South Africa, December 2012 Corbier. C, A LA QUÊTE DES HOMMES PERDUS in L'Est Républicain , Verdun, France, September 2012 Art Source South Africa, PAUL EMMANUEL SELECTED FOR 2012 FRENCH RESIDENCY , in South African Art Times , Global Art Information, Cape Town, South Africa, February 2011 Watermeyer, N. MORTALITY, VULNERABILITY, MUTABILITY , in Classic Feel magazine, Desklink Media, Johannesburg, South Africa, December 2011 Van Rensburg, W. SA ART HIGHLIGHTS , in South African Art Times newspaper, Global Art Information, Johannesburg, South Africa, December 2011 van Wyk A. BITES OF ART , in Life , Sunday Independent newspaper, Independent News & Media, Johannesburg, South Africa, October 2011 Bester, R. MAKING A LASTING IMPACT WITH FIRST IMPRESSIONS , in Mail & Guardian , M&G Media Limited, Johannesburg, South Africa, September 2011 Smith, M. LABOUR INTENSIVE: AN INTERVIEW WITH THE FNB JOBURG ART FAIR'S FEATURED ARTIST PAUL EMMANUEL in ArtThrob , Cape Town, South Africa, September 2011 Bosman, N. MOMENTS OF CHANGE: JOBURG ART FAIR FEATURED ARTIST PAUL EMMANUEL ADDS YET ANOTHER INTRICATE LAYER TO HIS 'TRANSITIONS PROJECT' , in CityVibe , The Citizen newspaper, The Citizen, Johannesburg, South Africa, September 2011 Ober, C. LIGHT FROM DARK: TWO NEW EXHIBITS AT GOYA CONTEMPORARY GALLERY HIGHLIGHT CONTRASTING VALUES , in Urbanite magazine, Tracy Ward, Baltimore, USA, September 2011 Minors, D. WITSIE IS FEATURED ARTIST AT AFRICA'S ONLY ART FAIR , in Wits Alumni magazine, University of the Witwatersrand, Johannesburg, South Africa, September 2011 Myburg, J. BEKROONDE EMMANUEL SE LITOS OF ART FAIR , in Beeld newspaper, Nuus24.Com, Johannesburg, South Africa, September 2010 Weaver, A. M. PAUL EMMANUEL, NATIONAL MUSEUM OF AFRICAN ART, WASHINGTON DC , in Art South Africa , Bell Roberts Publishing, Cape Town, South Africa, Spring 2010 McKenna, A. PAUL EMMANUEL: TRANSITIONS: IDENTITY CONSTRUCTION IN SOUTH AFRICA in California Literary Review , California Literary Review, Carlsbad, California, USA, June 2010 Harvey, A.L. SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ART in The InTowner , Intowner Publishing Corp., Washington DC, USA, June 2010 O'Sullivan, M. AT SMITHSONIAN'S AFRICAN ART MUSEUM: RITE OF PASSAGE and DRAWN PRECISELY in The Washington Post , The Washington Post Company, Washington DC, USA, May 2010 Cavenaugh, A. TRANSITIONS IN SOUTH AFRICA: PAUL EMMANUEL'S 'TRANSITIONS' AT SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ART in Express Night Out , The Washington Post Company, Washington DC, USA, May 2010 O'Sullivan, M. SMITHSONIAN AFRICAN ART MUSEUM'S 'TRANSITIONS' EXHIBIT INCLUDES FILM ON INFANTRY in The Washington Post , The Washington Post Company, Washington DC, USA, May 2010 Dodd, A. LOST & FOUND in Wanted , Business Day, Johannesburg, South Africa, March 2010 Dobson, W. IDENTITY IN FLUX: THE TRANSITION TO NEW PERSPECTIVES in The Cape Times , Cape Town, South Africa, March 2009 Dodd, A. SOUNDSCAPES PAINSTAKINGLY CREATED in Business Day Arts , Business Day, Johannesburg, April 2009 Dias, J. LOST MEN MOÇAMBIQUE , in Arte em Movimento , Muv'art, Maputo, February 2009 Britz, E. KUNTSENAARSOOG BEKYK MANLIKE IDENTITEIT in Volksblad , Bloemfontein, February 2009 Roßkothen, K. VERLORENE MÄNNER IM WIND in Sylter Spiegel , Rantum, June 2009 Roßkothen, K. THE LOST MEN IN RANTUM in Hallo Sylt , Rantum, June 2009 Retzlaff, C. FRAGILE ZEICHEN GEGEN GEWALD in Sylter Spiegel , Rantum, June 2009 Sassen, R. EMMANUEL EXPLORES EVOLUTION OF LIFE in Cue , Grahamstown, July 2009 Sassen, R. FESTIVAL'S HALF – 'ARTED ATTEMPT in Cue , Grahamstown, July 2009 Myburgh, J. TRANSITIONS NA DIE SMITHSONIAN IN DIE VSA , in Beeld , Johannesburg, September 2008 van Schalkwyk, K. IDENTITY IN FOCUS in ScreenAfrica , Sun Circle Publishers (Pty) Ltd, Johannesburg, September 2008 Corrigal, M. FINE ARTIST SHOWS A FLARE FOR VIDEO in The Sunday Independent , The Sunday Independent, Johannesburg, September and in SA Art Times, Global Art Information, Johannesburg, October 2008 Bosman, N. INTRICATE OBSESSION in The Citizen , The Citizen, Johannesburg, October 2008 Dodd, A. ART PIG in SA Art Times , Global Art Information, Johannesburg, November 2008 Cohn, T. TRANSITIONS in Classic Feel , DeskLink Media, Johnannesburg, November 2008 Kaganof, A. PAUL EMMANUEL APARTHEID MUSEUM in Art South Africa , Bell Roberts Publishing, Cape Town, December 2008 Dodd, A. TRANSITIONS PAUL EMMANUEL in Business Day Arts , Business Day, Johannesburg, December 2008 Buys, A. TRANSITIONS in The Guide-Visual Arts , Mail & Guardian, Johannesburg, December 2007 Strauss, G. CHUTZPAH AND A SOLID PLAN TO REALISE A DREAM in Business Day Arts , Business Day, Johannesburg, June 2007 Myburg, J. KUNSLESSE IN MAPUTO in Beeld , Beeld, Johannesburg, June 2007 Humbelino, C. O SOLDADO DESCONHECIDO in Canal de Moçambique , Imprel, Maputo, May 2007 O’Toole, S. NO THANK YOU in Art South Africa , Volume 6 Issue 2, Bell Roberts Publishing, Cape Town, December 2006 Doherty, C. NAVIGATING THE BOOKSCAPE in @Joburg, Art and Technology , Wits School of the Arts, Johannesburg, October 2006 Dodd, A. HOLLARD ENTERS THE ART WORLD WITH A BANG in Business Day Arts , Business Day, Johannesburg, March 2006 Lampbrecht, B. PAUL EMMANUEL AFTER-IMAGE in Beeld , Beeld, Johannesburg, January 2006 Sassen, R. PAUL EMMANUEL AT THE OLD FORT in Artthrob , Artthrob, Cape Town, February 2005 Cohn, T. PAUL EMMANUEL, OLD FORT, CONSTITUTION HILL in Art South Africa, Volume 3, Issue 4, Bell Roberts Publishing, Cape Town, June 2004 Greslé, Y. WARS INCARNATED in Cue , Rhodes University, Grahamstown, July 2004 Tipping-Woods, D. HANGING ON THE HILL in Cue , Rhodes University, Grahamstown, July 2004 Gurney, K. NATIONAL ARTS FESTIVAL in Artthrob , Artthrob, Cape Town, September 2004 Greslé, Y. PERFORMANCES OF MASCULINITY in Art South Africa Volume 3, Issue 2, Bell Roberts Publishing, Cape Town, December 2004 Greslé, Y. /PAUL EMMANUEL in Art South Africa Volume 3 Issue 1, Bell Roberts Publishing, Cape Town, September 2003 Lampbrecht, B. PAUL EMMANUEL BY DIE STANDARD BANK GALERY in Beeld , Beeld, Johannesburg, March 2003 Dodd, A. PAUL EMMANUEL PERFECTS THE FINE ART OF TURNING ODDNESS INTO TRANSCENDENCE in The Sunday Independent , The Sunday Independent, Johannesburg, March 2002 Smith, K. WAX LYRICAL in Art South Africa , Volume 1 Issue 2, Bell Roberts Publishing, Cape Town, March 2001 Lampbrecht, B. PAUL EMMANUEL BY DIE BIG BAG SHOW BY THE GOODMAN GALLERY in Rapport , Rapport, February 2000 Warrington, R. THE EMERGENCE OF SOMETHING INTO BEING: PAUL EMMANUEL AT THE OPEN WINDOW , in ArtThrob , Issue No. 33, May Solo catalogues and monographs | Paul Emmanuel SOLO CATALOGUES AND MONOGRAPHS PAUL EMMANUEL Edited by Karen von Veh Texts by Annette Becker, Karen von Veh and Pamela Allara. Wits Art Museum, Johannesburg, Gauteng, South Africa, 2020. (ISBN 978-0-620-87116-7) IMPERMANENCE Text by Johan Thom. Fried Contemporary Gallery, Pretoria, Gauteng, South Africa, 2018. (ISBN n/a) REMNANTS Text by Pamela Allara. Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa, 2017. (ISBN n/a) REMNANTS Text by Pamela Allara. Boston University Art Galleries, Boston, Massachusetts, USA, 2016. (ISBN n/a) TRANSITIONS MULTIPLES Texts by Gallery AOP and Art Source South Africa. Gallery AOP, Johannesburg, Gauteng, South Africa, 2011. (ISBN n/a) TRANSITIONS MULTIPLES Texts by Goya Contemporary Gallery and Art Source South Africa. Goya Contemporary Gallery, Baltimore, Maryland, USA, 2011. (ISBN n/a) TRANSITIONS Texts by Smithsonian National Museum of African Art and Art Source South Africa. National Museum of African Art, Smithsonian Institution, Washington DC, USA, 2010. (ISBN n/a) TRANSITIONS Texts by André Croucamp and Robyn Sassen. Art Source South Africa, Johannesburg, Gauteng, South Africa. 2008. (ISBN 978-0-620-41945-1) AFTER-IMAGE Text by Julia Charlton. US Art Gallery, Stellenbosch, Western Cape, South Africa. 2004. (ISBN 0-620-32295-0) Men and Monuments | Paul Emmanuel Info Men and Monuments Wits Art Museum, Johannesburg, Gauteng, South Africa 3 – 18 March 2020 and 6 – 30 April 2021 For the past 16 years, in an ongoing project titled The Lost Men , Emmanuel has challenged conventions around war memorials. He has questioned which soldiers are memorialised and which erased, and the stereotypes around soldiers and masculinity. In contrast to accepted practices where war memorials are erected using robust, permanent and immovable materials such as granite, he commemorates the forgotten using his own transient and vulnerable body to transform himself into a living, but temporary war memorial. Artworks from all three iterations of The Lost Men are featured in Men and Monuments . A monograph titled Paul Emmanuel , edited by Professor Karen von Veh and with writings by Professor emerita Annette Becker, Professor Karen von Veh and Associate Professor emerita Pamela Allara, was published by the museum. Review by Elizabeth Delmont (2021) Essay by Pamela Allara and Mark Auslander (2021) Review by Gemma Hart (2021) Review by Amanda Khumalo (2021) Purchase a book from the museum (email link) Transitions Multiples (Joburg Art Fair) | Paul Emmanuel Info 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. Art Source South Africa are managers of Emmanuel's Transitions project. Review by Wilhelm van Rensburg for South African Art Times (2011) Article by A. van Wyk in Life, Sunday Independent newspaper (2011) Interview by Michael Smith in ArtThrob (2011) Article by N. Bosman in The Citizen newspaper (2011) Press release by FNB Joburg Art Fair Transitions Multiples brochure published by Gallery AOP and Art South South Africa [PDF] Group catalogues and other publications | Paul Emmanuel GROUP CATALOGUES AND OTHER PUBLICATIONS FAIRE L’HISTOIRE DES VIOLENCES EN GUERRE Dir: Andrea Brazzoduro, Ken Daimaru, Fabien Thófilakis Creaphis Editions, Paris, France, 2021. ISBN 978-2-35428-165-6 CONTEMPORARY ART AUCTION Text: Frank Kilbourn Strauss & Co Fine Art Auctioneers/consultants, Johannesburg, Gauteng, South Africa, 2018. BOOKNESSES: ARTISTS' BOOKS FROM THE JACK GINSBERG COLLECTION Texts: Kim Berman, Rosalind Cleaver, Keith Dietrich, David Paton, Robyn Sassen, Robbin Ami Silverberg, Pippa Skotnes University of Johannesburg Art Gallery, Johannesburg, Gauteng Province, South Africa, 2017. (ISBN 978-0-86970-769-8) INTERNATIONAL ACADEMIC PRINTMAKING ALLIANCE INVITATIONAL EXHIBITION Editor: Wang Huaxiang. China Forestry Publishing House, Beijing, China, 2016. (ISBN 978-78860-5038--1) RITES OF PASSAGE BETWEEN LIGHT AND SHADOW Text: Sulger-Buel Lovell. Sulger-Buel Lovell, London, UK and Cape Town South Africa, 2016. (ISBN n/a) REPRESENTATIONS OF OTHERNESS AND RESISTANCE Texts: Annali Cabano-Dempsey, Angela de Jesus, Heidi Hudson, Pumla Gobodo-Madikizela, Wilhelm Van Rensburg. Johannes Stegmann Art Gallery, University of the Free State, Bloemfontein, Free State Province, South Africa, 2015. (ISBN 978-0-86886-830-1) BATTLEGROUND Texts: Michael Godby, Jeff Peires, Rod Hooper-Box. Standard Bank Gallery, Albany History Museum, National Arts Festival, Grahamstown, Eastern Cape, South Africa. Primavera Publishing, Cape Town, Western Cape, South Africa, 2015. (ISBN 978-0-620-66482-0) BETWEEN DEMOCRACIES 1989 – 2014: MEMORY AND COMMEMORATION Texts: Karen von Veh, Judy Peter, Richard Gregor, Cristian Nae. University of Johannesburg, Johannesburg, Gauteng, South Africa, 2015. (ISBN 978-606-547-266-2) PERMANENT WAR: THE AGE OF GLOBAL CONFLICT Text: Pamela Allara. Barbara and Steven Grossman Gallery and Mrs. E. Ross Anderson Auditorium. School of the Museum of Fine Arts, Boston, Massachusetts, USA. 2015. (ISBN n/a) VOIR LA GRANDE GUERRE: UN AUTRE RÉCIT Text: Annette Becker. Postface: Pierre Bergounioux. Armand Colin, Paris, Île-de-France, France. 2014. (ISBN 978-2-200-28757-3) DOING HAIR: ART AND HAIR IN AFRICA Texts: Anitra Nettleton, Lesley Spiro Cohen, Connie Mashaba, Erin Bosenberg, Shayna Goncalves, Pamela Phatsimo Sunstrum, Paul Davis, Dipalesa Mpye, Susan Middleton, Hazel Cuthbertson and Laura De Becker. Wits Art Museum, Johannesburg, Gauteng, South Africa. 2014. (ISBN 978-0-620-61860-1) 2014 CENTENAIRE DE LA PREMIERE GUERRE MONDIALE Prefaces: François Hollande, Kader Arif, Elrick Irastorza, Antoine Prost. Texts: Joseph Zimet, Rémy Pflimlin, Natalie Nougayrède, Jean-Luc Hees. Mission du Centenaire de la Première Guerre Mondiale, Paris, Île-de-France, France. 2013. (ISBN n/a) MY JOBURG Text: Sean O'Toole. La Maison Rouge, Fondation Antoine de Galbert, Paris, Île-de-France, France. 2013. (ISBN 978-2-84975-301-9) NOT MY WAR Text: Natasha Norman. Michaelis Galleries, University of Cape Town, Western Cape, South Africa. 2012. (ISBN n/a) DAK’ART: 10th BIENNALE OF CONTEMPORARY AFRICAN ART Foreword: Gérard Senac. Texts: Christine Eyene, Nadira Aklouche-Laggoune, Riason Naidoo, Brahim Alaoui, Mamadou Diouf, Yacouba Konaté, Daniel Sotiaux. Le Ministère de la Culture et du Tourisme, Dakar, Dakar Region, Senegal. 2012. (ISBN n/a) FNB JOBURG ART FAIR Forewords: Bernice Samuels, Roshene Singh, Lebogang Maile. Artlogic, Johannesburg, Gauteng, South Africa. 2011. (ISBN 978-0-620-51056-1) 9TH IN THE PALACE INTERNATIONAL SHORT FILM FESTIVAL In The Palace International Short Film Festival, Balchik, Dobrich Province, Bulgaria. 2011. (ISBN n/a) 39TH INTERNATIONAL FILM FESTIVAL ROTTERDAM International Film Festival, Rotterdam, South Holland, The Netherlands. 2010. (ISBN n/a) 4TH AFRICA IN MOTION INTERNATIONAL FILM FESTIVAL Africa in Motion International Film Festival, Edinburgh, Lothian, Scotland, United Kingdom. 2009. (ISBN n/a) 12TH ANTIMATTER FILM FESTIVAL Antimatter Film Festival, Victoria, British Columbia, Canada. 2009. (ISBN n/a) SIGNATURE PIECES: THE STANDARD BANK CORPORATE ART COLLECTION Texts: Julia Charlton, Federico Freschi, Emile Maurice, Wilhelm van Rensburg, Monna Mokoena, Nicola Danby, Barbara Freemantle & Anitra Nettleton. Standard Bank, Johannesburg, Gauteng, South Africa. 2009. (ISBN 978-0-9814200-1-1) VOKABELKRIEGER IV. SCHULD UND SÜHNE. Sylt-Quelle / Hybriden-Verlag, Rantum, Sylt Island, Germany. 2009. (ISBN n/a) NATIONAL ARTS FESTIVAL 2009 OFFICIAL PROGRAMME. National Arts Festival, Grahamstown, Eastern Cape, South Africa. 2009. (ISBN n/a) POST APARTHEID FRAGMENTS: LAW, POLITICS AND CRITIQUE. (BOOK 13 OF IMAGINED SOUTH AFRICA SERIES) Edited by Karin Van Marle and Wessel Le Roux. Text by Wessel Le Roux. Brill Academic Publishing. 2008. (ISBN 978-1868884056) LA MIA VITA, LA MIA COLLEZIONE (MY LIFE, MY COLLECTION). Texts: Vittorio Meneghelli, Eva Viani and Karel Nel. Totem Galleries, The Meneghelli Family, The Andrea Meneghelli Trust. Johannesburg, Gauteng, South Africa. 2007. (ISBN 978-0-620-38246-5) NAVIGATING THE BOOKSCAPE: ARTISTS’ BOOKS AND THE DIGITAL INTERFACE. Texts: David Paton, Jack Ginsberg and Robyn Sassen. David Paton. FADA Gallery, University of Johannesburg, Gauteng, South Africa. 2006. (ISBN 0-620-37094-7) BAG FACTORY ARTISTS. Texts: Meredith Randall. Unisa Art Gallery, Pretoria, Gauteng, South Africa. 2005. (ISBN n/a) MAKING WAVES: A SELECTION OF WORKS FROM THE SABC ART COLLECTION. Texts: Peter Matlara, Clive Kellner and Koulla Xinisteris. SABC, Johannesburg, Gauteng, South Africa. 2005. (ISBN 0-620-33139-9) ART @ WORK: A DECADE AND MORE OF THE SASOL ART COLLECTION. Texts: Lucia Burger, Kathryn Smith, Teresa Lizamore and Brenda Jacobs. Sasol Limited, Johannesburg, Gauteng, South Africa. 2005. (ISBN 0-620-33835-0) WALDSEE 1944. Texts: Hedvig Turai. 2B Foundation, Budapest, Hungary and Alma on Dobbin Foundation, New York, New York, USA. 2004. (ISBN n/a) ITCH. (Volume 1 Issue 1). Text: Lisa Cohn. Bell Roberts Publishing, Cape Town, Western Cape, South Africa. 2004. (ISBN 0-6203-1894-5) NATIONAL ARTS FESTIVAL. Main Programme. National Arts Festival Grahamstown, Eastern Cape, South Africa. 2004. (ISBN n/a) THE AMPERSAND FOUNDATION. Texts: Warren Siebrits, Jack Ginsberg, Emma Bedford and Lesley Cohn. Warren Siebrits Modern and Contemporary Art, Johannesburg, Gauteng, South Africa. 2003. (ISBN 0-620-31363-3) 5E TRIENNALE MONDIALE DE L’ESTAMPE PETIT FORMAT. Texts: Claude Wolff, Annie Clauzet, Jean-Louis Gautier and Claude Bouret. Chamalièrs, Auvergne, France. 2000. (dépôt légal 2000 No. 1135) (ISBN n/a) GRAFIK – SAYDAFRIKA, Grafiska Sällskapets Galleri. Konstnärer för Afrika, Stockholm, Södermanland, Sweden. 1998. (ISBN n/a) PRINT – EXCHANGE. Text: Verle Rooms. Frans Masreel, Kasterlee, Antwerp, Flanders; Artists Proof Studio, Johannesburg, Gauteng, South Africa and Hard Ground Printmakers, Cape Town, Western Cape, South Africa. 1998-99. (ISBN n/a) PRINTMAKING IN A TRANSFORMING SOUTH AFRICA. Texts: Philippa Hobbs and Elizabeth Rankin. David Philip Publishers, Cape Town, Western Cape, South Africa. 1997. (ISBN 0 86486 334 9) Previous 1 2 3 4 Next Rising-falling | Paul Emmanuel Info 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 . More information ​ Essay by Karen von Veh and Landi Raubenheimer in 'Image and Text' journal (2022) [PDF] Article by Sandile Ngidi for the Mail and Guardian newspaper (2021) [PDF] Concept document [PDF] The Lost Men Grahamstown | Paul Emmanuel Info The Lost Men Grahamstown Counter-memorial, tenth anniversary of South Africa’s democracy, 1820 Settlers National Monument, Gunfire Hill, Mkhanda (formerly known as Grahamstown), Eastern Cape, South Africa 1 – 10 July 2004 This once-only counter-memorial was temporarily installed adjacent to the 1820 Settlers' National Monument , Grahamstown, South Africa in July 2004 on the 10th anniversary of South Africa's democracy. The installation formed part of the Grahamstown National Arts Festival's main programme. Sourced from public archives, the names and military ranks of men who had died in the 1820 – 50's Xhosa Wars fought in the Grahamstown area, were pressed into Emmanuel's skin. Xhosa names however, could only be sourced from the journals of white soldiers and were each recorded as a single name only. Supported by The National Arts Council of South Africa and The Grahamstown National Arts Festival . Academic journal article by Prof. Emerita Karen von Veh (2019) Research article by Robyn Sassen for IMPACT printmaking conference, Tallinn, Estonia (2007) Poem by Lisa Cohn for Itch magazine (2004) Review by Yvette Greslé for Art South Africa magazine (2004) Review by Kim Gurney for Artthrob (2004) Review by Diane Tipping Woods for Cue newspaper (2004) Press release from Art Source South Africa [PDF] (2004) Remnants (Oliewenhuis Art Museum) | Paul Emmanuel Info Remnants The Reservoir, Oliewenhuis Art Museum, Bloemfontein, Free State, 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. Oliewenhuis Art Museum press release [PDF] Substance of Shadows | Paul Emmanuel Info Substance of Shadows University of Johannesburg Art Gallery, Gauteng, South Africa 11 September – 2 October 2021 Inspired by the Human Shadow Etched in Stone at the Hiroshima Peace Memorial Museum, Hiroshima, Japan, this solo exhibition tracks Emmanuel's continued personal fascination with the tenuous nature of memory. The only certainty is change. We try to hold onto memories in the hope of maintaining some coherence and continuity, but our memories are largely inventions and they too change over time. We commemorate our invented pasts in an attempt to fix them in the present. This exhibition is a collection of works scratched by hand into delicate carbon 'paper' or film. These carbon 'shadows' are all metaphors for carbon copies and products of one of life's greatest narratives – the carbon cycle. Carbon is an element in nature. Review by Elizabeth Delmont for LizatLancaster website (2021) Review by Thango Ntwasa for The Sunday Times newspaper (2021) [PDF] Review by Johan Myburg for Beeld newspaper (2021) [PDF] Exhibition catalogue [PDF] Essay by Pamela Allara and Mark Auslander for Art Beyond Quarantine blog (2020) Essay by Mark Auslander for Art Beyond Quarantine blog (2020) Previous 1 2 3 4 Next