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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→

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→

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→

Unravelling , 2017. Original drawing hand incised into exposed colour photographic paper. 52 x 75 cm. Spier Collection 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. Related content Exhibition ‘Men and Monuments’, 3 – 18 March 2020 and 6 – 30 April 2021 Publication ‘Paul Emmanuel’, 2020 Exhibition ‘Transitions’, 12 May – 22 August 2010 ←Previous Next→

Table number 12 , 2010. 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 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. Related content Exhibition ‘Transitions Multiples’, 8 September – 5 November 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→

“Touch me” , 2013, Digital program, high Definition, single-channel digital video, touch-sensitive screen, stereo soundtrack “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 digital, touch-sensitive, video and sound artwork created by Paul Emmanuel. It is a non-partisan complement to his The 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 and 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 and disrobing of different areas of his body, revealing and 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 and white South African First World War servicemen, pressed into the artist’s body alongside those of the Allies and 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 and 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 – 13. Related content Video artwork ‘Remember-dismember’, 2015 Exhibition ‘Remnants’, 25 June – 31 July 2015 ←Previous Next→

Banner from The Lost Men Grahamstown , 2004. Pigment-printed photograph on voile. 104 x 177 cm. Courtesy of Grahamstown National Arts Festival and Art Source South Africa 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 The Lost Men Grahamstown (2004) was selected for this exhibition. Related content Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←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 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). An event on the occasion of the Seasons South Africa 2012/2013 in France in partnership with Institut Français. My Joburg , toured to the Staatliche Kunstammlungen, Dresden, Germany, 26 October 2013 – 5 January 2014. 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. Related content Exhibition ‘Transitions Multiples’, 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→

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→

Rough collar (detail), 2018, hand incised, perforated carbon paper, carbon residue, perspex display case, wooden plinth, 45 x 40 x 40 cm 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. Related content Exhibition ‘Substance of Shadows’, 11 September – 2 October 2021 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 Exhibition ‘After-image’, 5 – 29 April 2005 Publication ‘After-image’, 2004 ←Previous Next→

Installation view of Untethered (2024) in the main court at Maryland Institute College of Art, Baltimore, MD, USA. Decommissioned, model T-10, U.S. military personnel parachute with severed suspension lines, detached harness with risers, 550 para-cord. High-definition video projection, stereo soundtrack, 7 min 26 sec. Parachute diameter: 35 feet. Harness dimensions: 30 x 30 inches (excluding suspension lines) MICA Grad Show 3 , Maryland Institute College of Art, Baltimore, Maryland, USA, 27 September – 13 October 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. Artist statement At present, the United States finances, trains and arms soldiers in the Lebanese Armed Forces. My mixed European/Lebanese heritage has compelled me to spend the last two years interviewing retired and active-duty Lebanese and U.S. soldiers deployed to the ‘Middle East’ region. In these conversations, I was struck by each soldier’s account of the camaraderie between ‘battle buddies’ and surprised that the older veterans spoke of a profound sense of loss when returning to civilian life. This traumatic experience of detachment resonated strongly with me when a U.S. paratrooper gave me his parachute. He recounted how he had acquired it after retiring from active duty in 2008, only to discover that all 30 of its suspension lines had been severed. The accompanying two original drawings comprise a ‘foot portrait’ of a U.S. paratrooper and a ‘hand portrait’ of a Lebanese active-duty infantryman. Both men cannot be identified for various reasons, but I was driven to record the intimacy of our conversations in some way. They both allowed me to photograph and draw their feet and hands, so as to protect their anonymity. Each image is scratched by hand with a steel blade into a dark background, on a piece of cotton rag. The U.S. paratrooper’s feet are scratched into a layer of black boot polish because to this day, airborne troops still buff their black leather, ceremonial ‘jump boots’ using these materials to signify excellence and professionalism. The Lebanese infantryman’s hands however, are scratched into a layer of gunpowder residue from an M16 assault rifle and ammunition supplied by the United States. Acknowledgements Luis Rosa Valentin, Dan Kasza, Carlos Muños, Katinka Hooyer, Hannah Challita, Suzanne Challita, Carine Challita, Anthony Emmanuel and Peter Emmanuel. To my parents Related content Civic engagement project ‘The Veteran’s Memorial to the Living’ (ongoing) Civic engagement project ‘Talking With Monuments: Veteran Dialogues on Remembering’, 2024 – 2026 Interview Mount Holyoke College, 2024 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→

Wings I , (detail), 1997. Copperplate mezzotint etching on 250 gsm Arches paper. Image 9,5 x 7,5 cm. Edition 3 Bag Factory Group Exhibition , Mexican Embassy, Pretoria, South Africa 1997 A group exhibition of artists works from The Bag Factory, also known as Fordsburg Artists Studios. An impression of Wings I (1997) was shown at this exhibition, curated by Lesley Cohn. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 ←Previous Next→