Grafik – Sydafrika — archive entry documenting Paul Emmanuel’s participation and work. Sleep series 4 , 1995. Copperplate drypoint etching. Image 9,5 x 6,5 cm. Edition 5 Grafik – Sydafrika , Grafiska Sällskapets Galleri, Stockholm, Sweden, 28 November – 16 December 1998 This group exhibition, curated by Mattias Fagerholm, featured work by several Swedish printmaking artists, as well as an impression from Sleep Series IV (1995). Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 Exhibition ‘After-image’, 16 April – 15 May 2005 ←Previous Next→

Les Écrans de la Liberté — archive entry documenting Paul Emmanuel’s participation and work. 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→

Navigating the Bookscape — archive entry documenting Paul Emmanuel’s participation and work. 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→

Material Gains: Contemporary Art from the Spier Collection — archive entry documenting Paul Emmanuel’s participation and work. 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→

Turbine Art Fair 2015 — archive entry documenting Paul Emmanuel’s participation and work. ‘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→

FNB Joburg Art Fair — archive entry documenting Paul Emmanuel’s participation and work. 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→

The Art of Banking: Celebrating Through Collections — archive entry documenting Paul Emmanuel’s participation and work. 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→

Foundations and Futures: 25 Years of the Bag Factory — archive entry documenting Paul Emmanuel’s participation and work. 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→

Rethinking Kakotopia — archive entry documenting Paul Emmanuel’s participation and work. 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→

Making Waves: SABC Art Collection — archive entry documenting Paul Emmanuel’s participation and work. 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→

Here: Pride and Belonging in African Art — archive entry documenting Paul Emmanuel’s participation and work. Untethered/Retethered , 2025, (تائه في العدم/مستعيد جذوره) (detail) 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). Photographed by Russell Smith Here: Pride and Belonging in African Art , National Museum of African Art, Smithsonian Institution, Washington D.C., USA, 23 January – 23 August 2026 Artists across Africa and the diaspora whose artworks connect to their identities and experiences as LGBTQ+ people are featured as the first continental and diasporic survey of its scale and scope outside of Africa. The show assembles artists whose work has implicitly or explicitly challenged local and global legacies of homophobia and bigotry, offering imaginings of alternative futures as well as celebrations of intimacy, faith, family and joy. Untethered/Retethered (2025) (تائه في العدم/مستعيد جذوره) was selected by curators, Serubiri Moses and Kevin Dumouchelle for 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 three years interviewing retired and active duty U.S. and Lebanese soldiers, deployed to the ‘Greater Middle East’ region. In these exchanges, I was struck by each soldier’s account of the camaraderie between ‘battle buddies’ and surprised that the older veterans from both countries 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 original drawings on 2 cotton rags, comprise a ‘hand portrait’ of a Lebanese, active duty infantryman and a ‘foot portrait’ of a U.S. paratrooper. I was driven to record the intimacy of our conversations in some way and they both allowed me to draw their hands and feet, so as to protect their anonymity. The Lebanese infantryman’s hands are scratched by hand with a steel blade into a layer of gunpowder residue because he uses an M16 assault rifle and ammunition supplied by the United States. The U.S. paratrooper’s feet however, are scratched into a layer of black boot polish because to this day, airborne troops use it to buff their leather, ceremonial ‘jump boots’ to signify excellence and professionalism. Related content Civic engagement project ‘The Veteran’s Memorial to the Living’ (ongoing) Civic engagement project ‘Talking with Monuments: What they don't say and the stories being missed’, 2024–2026 Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 Archive post Process Views: Untethered/Retethered at NMAfA, installation-stage projection, Paul Emmanuel Studio, 2026 ←Previous Next→

Sway: A Photographic Exhibition — archive entry documenting Paul Emmanuel’s participation and work. 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→