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. Scarab (detail), 1997. Hand coloured, maniére noire stone lithograph. 15,5 x 10,5 cm. Edition 7 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. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 ←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→

Related content– Group exhibition featuring artworks by Paul Emmanuel. Installation view of 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec 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. 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. Field of flames , 2011. 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 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. Related content Exhibition ‘Transitions Multiples’, 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←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 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. 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. Lesion , 2015. Hand-printed, Chine-collé photogravure etching on 300 gsm Hahnemühle paper. Paper size 40 x 71,5 cm. Edition 8 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. Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 Exhibition ‘Impermanence’, 8 March – 7 April 2018 ←Previous Next→

Related content– Group exhibition featuring artworks by Paul Emmanuel. Vault of Breath (detail) 2000. Manière noire stone lithograph on 250 gsm Arches paper, 34,5 x 280 cm. Edition 10 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. Related content Exhibition ‘After-image’, 5 – 29 April 2005 Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 ←Previous Next→