Related content– Group exhibition featuring artworks by Paul Emmanuel. Exhibition view of Jack Ginsberg Centre for Book Arts Opening Exhibition , Wits Art Museum, Johannesburg 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. Related content Exhibition ‘After-image’, 3 – 26 August 2004 Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec 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. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec 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. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. ‘Road signs’, 2014. Original drawing hand-incised into exposed colour photographic paper, 38 x 53 cm (framed). Private Collection 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. Related content Exhibition ‘Remnants’, 25 June – 31 July 2015 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. Scar , (detail), 2015. Hand-printed, Chine-collé photogravure etching on 300 gsm Hahnemühle paper. 40 x 92,5 cm. Edition 8 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. Scar (2015) was selected by the curators for this exhibition. Related content Exhibition ‘Remnants’, 28 January – 20 March 2016 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. The Lost Men Project (Grahamstown) , 2004. Digital program, touch screen, headphones, pedestal. Dimensions variable. Edition 3 Navigating the Bookscape: Artists’ Books and the Digital Interface , 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. Related content Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. The Lost Men France 2 , 2014. Pigment printed photograph on archival paper, 50 x 65 cm, Edition 5. Courtesy of 2014 Centenaire de la Première Guerre Mondiale and Art Source South Africa 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. Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. Nomina sunt Numina , (detail), 1993. Artists’ book (unique). 52 x 40,5 x 6 cm. Artist’s Collection 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). 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). Nomina Sunt Numina (1993) was selected for this exhibition. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 Exhibition ‘Navigating the Bookscape: Artists’ Books and the Digital Interface, 25 – 30 September 2006 Exhibition ‘The Art of Reading from William Kentridge to Wikipedia’, 18 November 2017 – 5 March 2018 ←Previous Next→

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

Related content– Group exhibition featuring artworks by Paul Emmanuel. Air on the Skin , (detail), 2002. Incised original drawing, shoe polish, acrylic on 285 gsm Fabriano Rosaspina Avorio paper. 70 x 304 cm. Standard Bank Corporate Art Collection 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. Related content Exhibition ‘Air on the Skin’, 28 January – 15 March 2003 ←Previous Next→

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

Related content– Group exhibition featuring artworks by Paul Emmanuel. Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec Twenty: Art in the Time of Democracy , 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. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→