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Press writings about exhibitions of artworks by Paul Emmanuel 2025 Judkis, M. SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ART DELAYS LGBTQ PRIDE EXHIBIT , Washington Post, Washington D.C. USA, May. 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

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)

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

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

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

Lesion , 2015. Hand-printed, Chine-collé photogravure etching on 300 gsm Hahnemühle paper. Paper size 40 x 71,5 cm. Edition 8 FNB Joburg Art Fair , 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. Related content Exhibition ‘Remnants’, 25 May – 9 July 2017 ←Previous Next→

Installation view of 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec 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. 3SAI: A Rite of Passage (2008) was selected by Les Écrans de la Liberté to be screened at Le Cube for this festival. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

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→

Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec Twenty: Art in the Time of Democracy , Pretoria Art Museum, South Africa, 9 – 21 May 2015 This exhibition is in celebration of 20 years of South Africa's democracy and is intended to be a showcase of historical and contemporary work that looks at six different aspects of South African life and experience. Appropriate artists and particular works have been selected to narrate these experiences. A broad range of artists and demographics have been selected to showcase the depth of talent and commentary that comes out of contemporary South African art. Curated by Senior Lecturer Gordon Froud and Professor Karen Von Veh from the University of Johannesburg, South Africa. 3SAI: A Rite of Passage (2008) and number 05000674PV (2009) were selected by the curators for this exhibition. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Paul Emmanuel REMNANTS (2016) 808 Gallery, Boston University, Massachusetts, USA Remnants , 2016, 808 Gallery, Boston University, Massachusetts, USA Remnants , 808 Gallery, Boston University, Massachusetts, USA 28 January – 20 March 2016 This solo, museum exhibition features artworks related to Emmanuel's counter-memorial, ‘The Lost Men France’, which was installed adjacent to the Thiepval Memorial to the Missing of the Somme in 2014. ‘The Lost Men France’, the 3rd in his ‘The Lost Men’ series, comprised 5 large silk banners depicting the artist's body bearing names of WWI servicemen from all nations pressed into his skin. ‘Paul Emmanuel: Remnants’ underscores concepts of loss, memory and memorialisation in an installation centred around the 'remnants' of ‘The Lost Men France’ banners, torn and battered by the winds of the Somme. The banners are complemented by videos, drawings, prints and plaster casts of the artist's body. An artist talk and panel discussion were presented at Boston University in conjunction with this exhibition. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014 Publication ‘Remnants’, 2016. Text by Pamela Allara, Boston. Boston University, USA. Bulletin sheet, 4 pp, 280 x 176 mm. ISBN n/a. Out of print

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→

Number 05000674PV , 2009. Manière noire stone lithograph, hand printed, hand coloured, signed, numbered and dated by the artist. Black lithographic ink and watercolour pigment on 285 gsm Fabriano Rosaspina Avorio paper. 80 x 156 cm. Edition 35. Courtesy of Art Source South Africa 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. 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. Related content Exhibition ‘Transitions Multiples’, 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→