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

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

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

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

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→

Exhibition view of Between Democracies 1989 – 2014: Memory and Commemoration , Constitution Hill, Johannesburg 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). Related content Intervention ‘Rising-falling’, 15 June 2021 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 Counter-memorial ‘The Lost Men Mozambique’, 24 April – 12 May 2007 Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←Previous Next→

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

Vault of Breath (detail) 2000. Manière noire stone lithograph on 250 gsm Arches paper, 34,5 x 280 cm. Edition 10 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. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 Exhibition ‘After-image’, 16 April – 15 May 2005 ←Previous Next→

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→

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→

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→

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 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. Related content Exhibition ‘Air on the Skin’, 28 January – 15 March 2003 ←Previous Next→