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 12th Antimatter Film Festival , Open Space Arts Centre, Victoria, Canada, 9 – 17 October, 2009 Dedicated to the exhibition and nurturing of film and video as art, Antimatter has grown into the premier showcase of experimental cinema in the west. Encompassing screenings, installations, performances and media hybrids, Antimatter provides a noncompetitive festival setting in Victoria, British Columbia, free from commercial and industry agendas. The highest standards of curatorial practice are employed to build thematic programs of innovative film and video selected from international submissions. In addition, the annual Foreign Matter series has become the incubator for hundreds of short films, all new to North American audiences, compiled and contextualized by international curators. The short film 3SAI: A Rite of Passage (2008) was officially selected for screening at this film festival on Friday 16 October at 7pm. 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. Airstrip , 2002, copperplate drypoint, mezzotint etching, watercolour pigments on 300 gsm Somerset paper, 56 x 76 cm. Edition 5 Bag Factory 30 Years: So Far, The Future , FADA Gallery, University of Johannesburg, South Africa, 30 June – 4 July 2020 The Bag Factory is celebrating three decades of our history and legacy as a non-profit contemporary visual arts organisation by looking through our archives and highlighting our unique, long-standing relationship with artists. Initially founded in 1991 by Dr David Koloane, British philanthropist Robert Loder, and arts administrator Sandra Burnett, with support from artists like Kagiso Patrick Mautloa, Sam Nhlengethwa and many others, the Bag Factory is an inclusive and interactive studio space for a cross-generational community of practicing visual artists where the exchange of ideas is encouraged and stimulated. Airstrip (2002) was selected for this exhibition. Related content Exhibition ‘After-image’, 3 – 26 August 2004 Publication ‘After-image’, 2004 ←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 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→

Related content– Group exhibition featuring artworks by Paul Emmanuel. 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→

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. Cathexis , 2003. Hand printed, hand bound artists’ book with slip case, 36 x 26,5 x 3 cm. Edition 3 Booknesses: Artists’ Books from the Ginsberg Collection , University of Johannesburg Art Gallery, Johannesburg, South Africa, 25 March – 5 May 2017 Curated by Prof. David Paton, assisted by Annali Dempsey, Roselind Clever and Jack Ginsberg. An exhibition of 258 book objects, historical and contemporary, by South African and International artists, showcased in one of the most comprehensive exhibits of artists' books ever to have been held internationally. Incuding works by: Walter Batiss, Kim Berman, Joseph Beuys, Belinda Blignaut, Willem Boshoff, Sara Bodman, Louise Bourgeois, John Cage, Alexander Calder, Sonia Delaunay, Francesco Clemente, Steven Cohen, Christine Dixie, Jim Dine, Max Ernst, Olafur Eliasson, Paul Emmanuel, Gilbert & George, David Hockney, Jasper Johns, William Kentridge Atta Kwami, Sol LeWitt, Robert Motherwell, Gerhard Marx, Judith Mason, Man Ray, Edward Ruscha, Lucus Samaras, Robbin Silverberg, Joachim Schönfeldt, Durant Sihlali, Richard Tuttle, Diane Victor, Kara Walker, Andy Warhol, Alastair Whitton, among others. Emmanuel's artists' book Cathexis (2003) was selected by the curators for this exhibition. Related content Exhibition ‘Pages from Cathexis’, 30 April – 27 May 2000 Exhibition ‘After-image’, 5 – 29 April 2005 ←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 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→

Related content– Group exhibition featuring artworks by Paul Emmanuel. The Lost Men France 4 , 2014. Pigment printed photograph on archival paper. 42 x 108 cm. Edition 5 In Plain Sight: Social Life in South Africa and Romania Before and After 1989 , ApARTe Gallery of George Enescu University of Arts & Borderline Art Space, Iasi, Romania 25 November – 8 December 2016 The nineties were a turning point for countries in the former Eastern European bloc and for South African society. While Romanian society underwent violent changes of the political regime in the transition from socialism to a primarily savage form of capitalism, South Africa embarked on the road leading to the end of apartheid in 1994. The new dispensation was marked by the jubilation of the Rainbow Nation and the African Renaissance as vehicles to grapple with the social constructions of identities in a ‘new’ South Africa. Exploring the capacity of the photographic medium to capture and reproduce ordinary views of daily life and to transform habitual ways of looking at these images, thus releasing their implicit political potentialities, the current exhibition presents for the first time in Romania, a selection of contemporary photography from South Africa, set in dialogue with Romanian artists who employ the medium of photography to investigate recent, small scale social processes and transformations. While South African artists are critically addressing issues related to race, ethnicity, class and gender, constructing micro-cartographies of civil and economic disposession, Romanian artists are more poetically involved in the exploration of lines of fracture in collective memory, social marginality and precarious economies. The curators selected The Lost Men France IV (2004) for this exhibition. Artists: Omar Badsha (SA), Matei Bejenaru (RO), Tanisha Bhana (SA), Reshma Chhiba (SA), Claudiu Cobilanschi (RO), Paul Emmanuel (SA), Lebohang Kganye (SA), Iosif Kiraly (RO), Andrei Nacu (RO), Cedric Nunn (SA), Dumitru Oboroc (RO). Curators: Cristian Nae (RO) and Judy Peter (SA). Related content Counter-memorial ‘The Lost Men France’, 1 July – 1 October 2014 ←Previous Next→