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Paul Emmanuel REMNANTS (2015) Freedom Park Museum, Pretoria, Gauteng, South Africa Exhibition views and opening address by André Croucamp for Remnants, Freedom Park Museum, Pretoria, Gauteng, South Africa, 25 June – 31 July 2015 Remnants , Freedom Park Museum, Pretoria, Gauteng, South Africa 25 June – 31 July 2015 In WWI, white South African servicemen fell alongside the Allies fighting against the Germans. Their black comrades, who were not allowed to carry weapons, died as labourers in camps located on the English Channel. The names of black servicemen who died were left off memorials, while those who survived were denied medals to honour them. In ‘Remnants’, Emmanuel presented the remains of the silk banners from ‘The Lost Men France’ (2014) counter-memorial and the casts used to press the names of fallen servicemen into his skin. The video ‘Remembering a Counter-memorial’ documented the process. Photographs of previous installations in ‘The Lost Men’ series, ‘The Lost Men Grahamstown’ (2004) and ‘The Lost Men Mozambique’ (2007) were also on view. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, 2014 Interview ‘Paul Emmanuel on The Lost Men project’, SABC News, 2015

Paul Emmanuel: Transitions solo exhibition at the Sylt Foundation, Germany Transitions 1 (detail), 2007. Original drawing, hand-incised into exposed, colour photographic paper, 78 x 305 cm. Spier Collection. Courtesy of Art Source South Africa Transitions , Sylt Foundation, Rantum, Sylt Island, Germany 18 February – 24 April 2011 ‘Transitions’ documents shifting male identity. This was the 8th showing of this touring solo museum exhibition comprising an installation of 5 original drawings, courtesy of the Spier Contemporary Collection and the short film ‘3SAI: A Rite of Passage’ (2008). ‘Transitions’ premiered at The Apartheid Museum, Johannesburg South Africa in 2008 and debuted internationally at the Smithsonian National Museum of African Art, Washington DC, USA in 2010. Art Source South Africa are managers of Emmanuel's ‘Transitions’ project. Artists statement In late 2004 I was exploring how the military influenced and perpetuated notions of masculinity in South Africa. One morning, while thinking about moments of change, I decided to photograph an actual military recruit head shaving while it was happening – to witness to an unfolding drama. After some research, I discovered that there were only two remaining military bases in South Africa which still perform this obligatory ‘rite of passage’ on their premises, one in Oudtshoorn and the other, Third South African Infantry Battalion (3SAI) in Kimberley. I phoned the Kimberley base, spoke to the Officer-in-Command and arranged a visit to photograph head shavings from the January 2005 intake. I remember feeling apprehensive of what I would find. I did not do military service. I only had references to military experiences told to me by my older brother and friends, who described their head shaving experiences of the apartheid military regime of the 1980s – their stories of feeling dehumanised, lots of shouting, indifference, bigotry and fear. Instead, I found a very different setting ... quiet lawns with well tended flower beds full of roses. Lines of recruits waiting patiently. No shouting. No authoritarianism. No evidence of the violent breaking down of the human spirit. Compared with the horror stories related to South Africa’s past, the equanimity of the scene was arresting. I was spellbound. These liminal moments of transition, when a young man either voluntarily – or is forced to – let go of one identity and take on a new identity as State Property with an assigned Force Number, prompted me to ask many questions: What was I actually witnessing? What is a “Rite of Passage” and how have similar “rituals” helped to form and perpetuate identities and belief systems throughout history? Why was I so powerfully drawn to and transfixed by these dramatic spectacles of subtle change and moments of suspended possibility and impossibility? And so began an intensely reflexive outward and inward journey, in and beyond my studio, which was to last four long years ... Related Content Exhibition ‘Transitions’, National Museum of African Art, Smithsonian Institution, 2010 Film ‘3SAI: A Rite of Passage’, 2008 Publication ‘Transitions’, 2008 Documentary ‘How the Transitions Drawings were Made’ (2011) Exhibition ‘Transitions’, Apartheid Museum, 2008

This Privacy Notice, together with our Data Protection Policy, explains how Paul Emmanuel Studio (“Paul Emmanuel Studio”, “we”, “us”) uses personal data relating to Suppliers, Customers, Collectors, and Contacts (“users”, “you”). Paul Emmanuel Studio is a data controller for the purposes of the Protection of Personal Information Act 4 of 2013. We also act as a data processor for limited information received from third-party associate galleries. The Sales Agreement between these galleries and individual Collectors specifies what data is transferred and for what purposes. We uphold all rights of the data subject, including the rights to information, access, rectification, erasure, restriction of processing, data portability, withdrawal of consent, filing a complaint, and objecting to automated decision-making and profiling. 1. INFORMATION WE MAY COLLECT ABOUT YOU Categories of personal data: data relating to Suppliers data relating to Customers data relating to Collectors data relating to Contacts We may collect and process the following information: Contact details Name and address Bank details (only when required for payment to fulfil contractual or statutory obligations) Correspondence between you and the Studio 2. WHERE WE STORE YOUR PERSONAL DATA Once received, your information is stored in secure electronic and physical records. We use strict procedures and security features to reduce the risk of unauthorised access. However, the transmission of information over the internet—particularly via email—is not completely secure, and we cannot guarantee absolute security of data sent to us electronically. Transactional information relating to the development of works, exhibitions, or projects may be archived. At our discretion, the Studio may grant supervised, limited access to these archives to academics or researchers, who may only view restricted or anonymised data directly related to a specific work, project, or exhibition. 3. HOW WE USE YOUR INFORMATION We may use the information we hold about you to: administer accounts and studio operations; provide information or communications you have requested; respond to your enquiries; fulfil contractual obligations between you and the Studio; ensure compliance with our Data Protection Policy; meet legal obligations or protect/enforce legal rights; support any sale or transfer of our business or assets; maintain archives or provenance records. 4. LAWFUL BASIS FOR PROCESSING We process personal data on the lawful basis of legitimate interests. Suppliers and Customers: Data is processed to fulfil obligations under contracts or terms of engagement. Collectors: Data is processed for accounting purposes. Limited data may be archived for provenance. Some Collector data may be provided to us by partner galleries. Contacts: Data is given directly and with consent. Communications are based on your expressed interest in receiving them. 5. DATA RETENTION POLICY We retain data in line with market-standard retention practices, based on the original purpose of collection and the necessity of ongoing storage. Suppliers and Customers: Data is retained for the duration of the contract or engagement, plus six years. Data for individuals who work with us regularly or who must remain reachable for care and maintenance of works may be retained longer, depending on project needs. Collectors: Data is initially held for accounting purposes and then partially purged. Minimal data may be archived for provenance when necessary, based on mutual interests and subject to regular review. Contacts: Information is retained only for as long as the relationship is active or there remains a reasonable likelihood of future engagement. 6. MARKETING COMMUNICATIONS The Studio may send a limited number of email or postal communications to individuals who have asked to receive notifications about events, exhibitions, or publications. If you wish to stop receiving these communications, you may notify us at any time using the contact details provided in section 10. 7. PROFILING AND AUTOMATED DECISION MAKING We do not conduct profiling or automated decision-making. 8. DISCLOSURE OF YOUR INFORMATION We may disclose your personal data to third parties where necessary for the purposes described in sections 2 and 3, including: associated companies; academics and researchers; service providers and professional advisers; prospective purchasers of our business or assets; other third parties as required or permitted by law. 9. CHANGES TO THIS PRIVACY NOTICE We may update this Privacy Notice from time to time. Last updated: 30/11/25 10. CONTACT DETAILS If you wish to correct information we hold about you, or if you have any questions about this Privacy Notice, please contact us at studio@paulemmanuel.net . We will respond as promptly as possible.

Press writings about exhibitions of artworks by Paul Emmanuel 2025 Judkis, M. SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ART DELAYS LGBTQ PRIDE EXHIBIT , Washington Post, Washington D.C. USA, May. 2021 Ntwasa, T. ARTIST QUESTIONS OUR PLACE IN THE WORLD – USING FASHION AS THE CANVAS , TimesLive in Sunday Times Newspaper, Johannesburg, South Africa, October. 2021 Delmont, L. PAUL EMMANUEL SUBSTANCE OF SHADOWS AT UNIVERSITY OF JOHANNESBURG ART GALLERY UNTIL 2ND OCTOBER , Lizatlancaster Guest House , Johannesburg, South Africa, September. 2021 Myburg, J. SUBSTANCE OF SHADOWS: ONTHOU SKYN SOOS LIG DEUR , Netwerk24 , Johannesburg, South Africa, September. 2021 Auslander, M. ALTERED CARBON: DRAMAS OF DETACHMENT, Moving Cube , University of Johannesburg Art Gallery, Johannesburg, South Africa, September. 2021 Ngidi, S. JUNE 16: REDEMPTION THROUGH NEGATION , Mail & Guardian , Johannesburg, South Africa, June. 2021 Delmont, L. PAUL EMMANUEL’S MEN AND MONUMENTS , Lizatlancaster Guest House , Johannesburg, South Africa, May. 2021 Khumalo, A. REVIEW: WAM EXHIBITION A GHOSTLY MEMORIAL TO MEN LOST TO WAR , Wits Vuvuzela , Johannesburg, South Africa, April. 2020 Hart, G. PAUL EMMANUEL’S MEN AND MONUMENTS: A TENDER PERSPECTIVE ON MASCULINITY AND THE MILITARY MACHINE , Bubblegumclub , Johannesburg, South Africa, March. 2020 Allara, P and Auslander, M. BETWEEN MEN AND MONUMENTS: THE ART OF PAUL EMMANUEL , Art Beyond Quarantine , Blogger, Google, California, USA, March. 2020 Auslander, M. VEIL 1954: PAUL EMMANUEL , Art Beyond Quarantine , Blogger, Google, California, USA, April. 2020 Allara, P. CARBON DAD 2017: PAUL EMMANUEL Art Beyond Quarantine , Blogger, Google, California, USA, April. 2018 Sassen, R. YOUR NAME, MY BODY in My View: The Arts at Large , online blog at WordPress.com, Automattic Inc., San Francisco, California, USA. April. 2018 Sluiter, M. THE LOST MEN PROJECT , in Fonts in Use , Fonts in Use LLC, Oakland California, USA, March. 2017 Emmanuel, P. PAUL EMMANUEL: ARTISTS AT WORK in Creative Feel magazine, DeskLink Media, Johannesburg, South Africa. April. 2017 Britz, E. PAUL EMMANUEL SE AANGRYPENDE ‘REMNANTS’ IN ROSESTAD in Volksblad , Media24, Bloemfontein, South Africa. May. 2016 McQuiad, C. MEMORIALS, ETHEREAL AND ELEGIAC, AT BOSTON UNIVERSITY in The Boston Globe , Boston Globe Media Partners LLC, Boston, USA. February. 2016 O'Rourke, J. A GHOSTLY TRIBUTE TO THE FALLEN OF WORLD WAR I in BU Today , Boston University, Boston, USA. February. 2016 Werbe, S. 'REMNANTS' – REVIEW OF SOUTH AFRICAN ARTIST'S SOMME EXHIBITION IN BOSTON in Centenary News: First World War 1914-1918 , Centenary Digital Ltd, London, UK. March. 2015 Stehle, R. OORBLYFSELS VAN 'ANTIMONUMENT' NOU IN VRYHEIDSPARK UITGESTAL , in Beeld , Media24, Johannesburg, South Africa, June. [PDF] 2014 Jones, J. WHY NUDES ARE A FITTING TRIBUTE TO THE SOMME'S FALLEN SOLDIERS , in The Guardian , Guardian News and Media Limited, London, August. 2014 Castro, P. THE LOST MEN, CONTRA-MEMORIAL DE PAUL EMMANUEL EN LOS CAMPOS DE BATALLA DE SOMME, in Catálogodiseño , Inversiones Diseño Medios, Colombia, Chile, August. 2014 Azzarello, N. PAUL EMMANUEL INSTALLS COUNTER-MEMORIAL ON FRANCE'S SOMME BATTLEFIELDS , in designboom , designboom magazine, Milan, Italy, August. 2014 Stehle, R. KUNS WAT WAPPER, in Beeld , Media24, Johannesburg, South Africa, July. 2014 Watterson, L. (editorial). THE LOST MEN OF FRANCE , in Classicfeel , DeskLink Media, Johannesburg, South Africa, August. 2014 Malexis, S. DIX QUESTIONS POUR UN CENTENAIRE , in Le Monde , 14-18 Les leçons d'une guerre, Les enjeux d'un centenaire, Le Monde, Paris, France, February-March. 2013 IFAS-Culture & Research. PUBLIC INSTALLATION AS PART OF THE OFFICIAL COMMEMORATION OF THE WORLD WAR ONE CENTENARY IN FRANCE , in Extra! magazine, Institut Français, Johannesburg, South Africa, December. 2013 Alhadeff, P. SOUTH AFRICAN ARTIST'S WORK "THE LOST MEN FRANCE" TO REMEMBER SOLDIERS KILLED ON THE SOMME , in Centenary News online news bulletin, Centenary Digital Ltd. London, UK, December. 2013 Michel, N. AFRIQUE DU SUD: UNE EXPOSITION SUR JOHANNESBURG À LA MAISON ROUGE DE PARIS , in Jeune Afrique online news bulletin, DIFCOM, Paris, France, July. 2012 Emmanuel, P. PAUL EMMANUEL IN FRANCE , in Classic Feel magazine, Desklink Media, Johannesburg, South Africa, December 2012 Corbier. C, A LA QUÊTE DES HOMMES PERDUS in L'Est Républicain , Verdun, France, September 2012 Art Source South Africa, PAUL EMMANUEL SELECTED FOR 2012 FRENCH RESIDENCY , in South African Art Times , Global Art Information, Cape Town, South Africa, February 2011 Watermeyer, N. MORTALITY, VULNERABILITY, MUTABILITY , in Classic Feel magazine, Desklink Media, Johannesburg, South Africa, December 2011 Van Rensburg, W. SA ART HIGHLIGHTS , in South African Art Times newspaper, Global Art Information, Johannesburg, South Africa, December 2011 van Wyk A. BITES OF ART , in Life , Sunday Independent newspaper, Independent News & Media, Johannesburg, South Africa, October 2011 Bester, R. MAKING A LASTING IMPACT WITH FIRST IMPRESSIONS , in Mail & Guardian , M&G Media Limited, Johannesburg, South Africa, September 2011 Smith, M. LABOUR INTENSIVE: AN INTERVIEW WITH THE FNB JOBURG ART FAIR'S FEATURED ARTIST PAUL EMMANUEL in ArtThrob , Cape Town, South Africa, September 2011 Bosman, N. MOMENTS OF CHANGE: JOBURG ART FAIR FEATURED ARTIST PAUL EMMANUEL ADDS YET ANOTHER INTRICATE LAYER TO HIS 'TRANSITIONS PROJECT' , in CityVibe , The Citizen newspaper, The Citizen, Johannesburg, South Africa, September 2011 Ober, C. LIGHT FROM DARK: TWO NEW EXHIBITS AT GOYA CONTEMPORARY GALLERY HIGHLIGHT CONTRASTING VALUES , in Urbanite magazine, Tracy Ward, Baltimore, USA, September 2011 Minors, D. WITSIE IS FEATURED ARTIST AT AFRICA'S ONLY ART FAIR , in Wits Alumni magazine, University of the Witwatersrand, Johannesburg, South Africa, September 2011 Myburg, J. BEKROONDE EMMANUEL SE LITOS OF ART FAIR , in Beeld newspaper, Nuus24.Com, Johannesburg, South Africa, September 2010 Weaver, A. M. PAUL EMMANUEL, NATIONAL MUSEUM OF AFRICAN ART, WASHINGTON DC , in Art South Africa , Bell Roberts Publishing, Cape Town, South Africa, Spring 2010 McKenna, A. PAUL EMMANUEL: TRANSITIONS: IDENTITY CONSTRUCTION IN SOUTH AFRICA in California Literary Review , California Literary Review, Carlsbad, California, USA, June 2010 Harvey, A.L. SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ART in The InTowner , Intowner Publishing Corp., Washington DC, USA, June 2010 O'Sullivan, M. AT SMITHSONIAN'S AFRICAN ART MUSEUM: RITE OF PASSAGE and DRAWN PRECISELY in The Washington Post , The Washington Post Company, Washington DC, USA, May 2010 Cavenaugh, A. TRANSITIONS IN SOUTH AFRICA: PAUL EMMANUEL'S 'TRANSITIONS' AT SMITHSONIAN NATIONAL MUSEUM OF AFRICAN ART in Express Night Out , The Washington Post Company, Washington DC, USA, May 2010 O'Sullivan, M. SMITHSONIAN AFRICAN ART MUSEUM'S 'TRANSITIONS' EXHIBIT INCLUDES FILM ON INFANTRY in The Washington Post , The Washington Post Company, Washington DC, USA, May 2010 Dodd, A. LOST & FOUND in Wanted , Business Day, Johannesburg, South Africa, March 2010 Dobson, W. IDENTITY IN FLUX: THE TRANSITION TO NEW PERSPECTIVES in The Cape Times , Cape Town, South Africa, March 2009 Dodd, A. SOUNDSCAPES PAINSTAKINGLY CREATED in Business Day Arts , Business Day, Johannesburg, April 2009 Dias, J. LOST MEN MOÇAMBIQUE , in Arte em Movimento , Muv'art, Maputo, February 2009 Britz, E. KUNTSENAARSOOG BEKYK MANLIKE IDENTITEIT in Volksblad , Bloemfontein, February 2009 Roßkothen, K. VERLORENE MÄNNER IM WIND in Sylter Spiegel , Rantum, June 2009 Roßkothen, K. THE LOST MEN IN RANTUM in Hallo Sylt , Rantum, June 2009 Retzlaff, C. FRAGILE ZEICHEN GEGEN GEWALD in Sylter Spiegel , Rantum, June 2009 Sassen, R. EMMANUEL EXPLORES EVOLUTION OF LIFE in Cue , Grahamstown, July 2009 Sassen, R. FESTIVAL'S HALF – 'ARTED ATTEMPT in Cue , Grahamstown, July 2009 Myburgh, J. TRANSITIONS NA DIE SMITHSONIAN IN DIE VSA , in Beeld , Johannesburg, September 2008 van Schalkwyk, K. IDENTITY IN FOCUS in ScreenAfrica , Sun Circle Publishers (Pty) Ltd, Johannesburg, September 2008 Corrigal, M. FINE ARTIST SHOWS A FLARE FOR VIDEO in The Sunday Independent , The Sunday Independent, Johannesburg, September and in SA Art Times, Global Art Information, Johannesburg, October 2008 Bosman, N. INTRICATE OBSESSION in The Citizen , The Citizen, Johannesburg, October 2008 Dodd, A. ART PIG in SA Art Times , Global Art Information, Johannesburg, November 2008 Cohn, T. TRANSITIONS in Classic Feel , DeskLink Media, Johnannesburg, November 2008 Kaganof, A. PAUL EMMANUEL APARTHEID MUSEUM in Art South Africa , Bell Roberts Publishing, Cape Town, December 2008 Dodd, A. TRANSITIONS PAUL EMMANUEL in Business Day Arts , Business Day, Johannesburg, December 2008 Buys, A. TRANSITIONS in The Guide-Visual Arts , Mail & Guardian, Johannesburg, December 2007 Strauss, G. CHUTZPAH AND A SOLID PLAN TO REALISE A DREAM in Business Day Arts , Business Day, Johannesburg, June 2007 Myburg, J. KUNSLESSE IN MAPUTO in Beeld , Beeld, Johannesburg, June 2007 Humbelino, C. O SOLDADO DESCONHECIDO in Canal de Moçambique , Imprel, Maputo, May 2007 O’Toole, S. NO THANK YOU in Art South Africa , Volume 6 Issue 2, Bell Roberts Publishing, Cape Town, December 2006 Doherty, C. NAVIGATING THE BOOKSCAPE in @Joburg, Art and Technology , Wits School of the Arts, Johannesburg, October 2006 Dodd, A. HOLLARD ENTERS THE ART WORLD WITH A BANG in Business Day Arts , Business Day, Johannesburg, March 2006 Lampbrecht, B. PAUL EMMANUEL AFTER-IMAGE in Beeld , Beeld, Johannesburg, January 2006 Sassen, R. PAUL EMMANUEL AT THE OLD FORT in Artthrob , Artthrob, Cape Town, February 2005 Cohn, T. PAUL EMMANUEL, OLD FORT, CONSTITUTION HILL in Art South Africa, Volume 3, Issue 4, Bell Roberts Publishing, Cape Town, June 2004 Greslé, Y. WARS INCARNATED in Cue , Rhodes University, Grahamstown, July 2004 Tipping-Woods, D. HANGING ON THE HILL in Cue , Rhodes University, Grahamstown, July 2004 Gurney, K. NATIONAL ARTS FESTIVAL in Artthrob , Artthrob, Cape Town, September 2004 Greslé, Y. PERFORMANCES OF MASCULINITY in Art South Africa Volume 3, Issue 2, Bell Roberts Publishing, Cape Town, December 2004 Greslé, Y. /PAUL EMMANUEL in Art South Africa Volume 3 Issue 1, Bell Roberts Publishing, Cape Town, September 2003 Lampbrecht, B. PAUL EMMANUEL BY DIE STANDARD BANK GALERY in Beeld , Beeld, Johannesburg, March 2003 Dodd, A. PAUL EMMANUEL PERFECTS THE FINE ART OF TURNING ODDNESS INTO TRANSCENDENCE in The Sunday Independent , The Sunday Independent, Johannesburg, March 2002 Smith, K. WAX LYRICAL in Art South Africa , Volume 1 Issue 2, Bell Roberts Publishing, Cape Town, March 2001 Lampbrecht, B. PAUL EMMANUEL BY DIE BIG BAG SHOW BY THE GOODMAN GALLERY in Rapport , Rapport, February 2000 Warrington, R. THE EMERGENCE OF SOMETHING INTO BEING: PAUL EMMANUEL AT THE OPEN WINDOW , in ArtThrob , Issue No. 33, May

Paul Emmanuel TRANSITIONS MULTIPLES (2011) Goya Contemporary Gallery, Baltimore, Maryland, USA Transitions Multiples , Goya Contemporary, Goya Girl Press, Baltimore, Maryland, USA 8 September – 5 November 2011 ‘Transitions Multiples’ formed part of Emmanuel’s ‘Transitions’ project in which he explores the way society constructs perceptions and performances of a masculine identity. The exhibition comprised a suite of hand printed, hand coloured 'manière-noire' stone lithographs as well as the short film ‘3SAI: A Rite of Passage’ (2008). Art Source South Africa are managers of Emmanuel's ‘Transitions’ project. Related Content Publication ‘Paull Emmanuel: Transitions Multiples’, Goya Contemporary, 2011 Documentary ‘How the Transitions Multiples Lithographs were Made’, 2011 Exhibition ‘Transitions Multiples’, FNB Joburg Art Fair, 2011 Exhibition ‘Transitions’, Maryland Institute College of Art, 2011 Film ‘3SAI: A Rite of Passage’, 2008

Paul Emmanuel RISING-FALLING (2021) Louis Botha Monument, Union Buildings, Pretoria, South Africa Rising-falling, 2021, Single-channel, high-definition video, stereo soundtrack, 3 min 45 sec Rising-falling , General Louis Botha monument, Union Buildings, Pretoria, South Africa 15 June 2021 On 15 June 2021, the day before South Africa's Youth Day commemoration, Emmanuel's existing video work ‘Remember-dismember’ (2015) was projected publicly onto the pedestal of the equestrian monument to General Louis Botha at the Union Buildings, Pretoria, South Africa. The intervention was documented live by Latitudes Online and simultaneously recorded on video to create a video artwork. This video artwork premiered on his solo exhibition ‘Substance of Shadows’ installed at the University of Johannesburg Art Gallery in September 2021. Supported by Diversity Art Forum and The Johannesburg Institute for Advanced Study. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014 Counter-memorial ‘The Lost Men Mozambique’, Catembe Ferry Jetty, Maputo, Mozambique, 24 April – 12 May, 2007 Counter-memorial ‘The Lost Men Grahamstown’, 1820 Settler’s National Monument, Makhanda, South Africa, 1 – 10 July, 2004

Paul Emmanuel TRANSITIONS MULTIPLES (2011) Featured Artist, FNB Joburg Art Fair, Johannesburg, Gauteng, South Africa Exhibition view of Transitions Multiples, FNB Joburg Art Fair Featured Artist booth, South Africa, 23 – 25 September 2011 Transitions Multiples , FNB Joburg Art Fair Special Project: Featured Artist, FNB Joburg Art Fair in association with Gallery AOP, Sandton Convention Centre, Johannesburg, South Africa 23 – 25 September 2011 ‘Transitions Multiples’ formed part of Emmanuel’s ‘Transitions’ project in which he explores the way society constructs perceptions and performances of a masculine identity. The exhibition comprised a suite of hand printed, hand coloured 'manière-noire' stone lithographs as well as the short film ‘3SAI: A Rite of Passage’ (2008). The show was presented by FNB Joburg Art Fair in association with Gallery AOP. A publication was produced by Gallery AOP and project managers Art Source South Africa. Related Content Film ‘3SAI: A Rite of Passage’, 2008 Documentary ‘How the Transitions Multiples Lithographs Were Made’, 2011 Publication ‘Paul Emmanuel: Transitions Multiples’, 2011

Paul Emmanuel IMPERMANENCE (2018) Fried Contemporary Gallery, Pretoria, Gauteng, South Africa Remember-dismember , 2015, s ingle-channel, high-definition video, stereo soundtrack, 3 min 45 sec Impermanence , Fried Contemporary Gallery, Pretoria, Gauteng, South Africa 8 March – 7 April 2018 A solo exhibition installed in Rooms 1 and 2 of Fried Contemporary Gallery. Emmanuel was invited by the gallery to show a selection of works dated from 2004 to 2015, curated by Johan Thom and Shenaz Mahomed. Editioned photographic works from ‘The Lost Men’ (2004 –) were selected for this exhibition along with lithographic works from the ‘Transitions Multiples’ (2009 – 11) series and the video ‘Remember-dismember’ (2015). Presented in association with Art Source South Africa. Related content Publication ‘Paul Emmanuel: Impermanence’, Fried Contemporary Gallery, Pretoria, South Africa, text by Johan Thom, 2018, PDF Exhibition ‘Transitions Multiples’, Goya Contemporary Gallery, Baltimore, Maryland, USA, 2011 Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014 Counter-memorial ‘The Lost Men Mozambique’, Catembe Ferry Jetty, Maputo, Mozambique, 24 April – 12 May, 2007 Counter-memorial ‘The Lost Men Grahamstown’, 1820 Settler’s National Monument, Makhanda, South Africa, 1 – 10 July, 2004

Interviews and documentaries about works by Paul Emmanuel Commencement speech and honorary doctorate, Montserrat College of Art (2025) (Video 18 min 34 sec) Paul Emmanuel Interview 4/22 (2024) Mount Holyoke College, South Hadley, Massachusetts, USA (Video 20 min) Walkabout: Paul Emmanuel and Michelle Constant (2021), Moving Cube, University of Johannesburg Art Gallery, Johannesburg, South Africa (Video 1 hr) Museum Moments: University of Johannesburg Art Collection (2021), Strauss & Co, Johannesburg, South Africa, (Video 1 hr 15 min 6 sec) The Making of Rising-falling (2021), Moving Cube, University of Johannesburg Art Gallery, Johannesburg, South Africa, (Video 3 min 53 sec) Paul Emmanuel – Art Exhibition – Substance of Shadows (2021), Hellenic Radio, Spotify AB, Johannesburg, South Africa, (Podcast 16 min 10 sec) Paul Emmanuel: Veil 1954 (2021), Moving Cube, University of Johannesburg Art Gallery, Johannesburg, South Africa, (Video 8 min 1 sec) Artist’s Talk by Paul Emmanuel on 8 September (2020) SARChi Chair: South African Art and Visual Culture, University of Johannesburg, South Africa , (Video 1hr 22 min 6 sec) Men and Monuments: A Conversation with Paul Emmanuel (2020) Wits Art Museum, Johannesburg, South Africa, (Video 1 hr) Hatefree Talk: Paul Emmauel (2020) HateFree Culture, Prague, Czech Republic, (Video 1 hr 21 sec) Cure: Paul Emmanuel (2020), UJ Arts and Culture, University of Johannesburg, South Africa, (Video 2 min 44 sec) Paul Emmanuel: Remnants (2017) Oliewenhuis Art Museum, Bloemfontein, South Africa, (Video 1 min 30 sec) The Weekend Edition (2016), SABC TV, Johannesburg, South Africa, (Video 6 min) Remnants Opening Speech by André Croucamp (2015) Freedom Park, Pretoria, South Africa, (Video 16 min 10 sec) Paul Emmanuel on Lost Men Project (2015) SABC TV Morning Live, Johannesburg, South Africa, (Video 6 min 17 sec) Paul Emmanuel Acknowledges Soldiers Who Are Forgotten Through Art (2014) SABC TV Morning Live, Johannesburg, South Africa, (Video 4 min 30 sec) Remembering a Counter-memorial: Making The Lost Men France (2014) Paul Emmanuel studio, Johannesburg, South Africa, (Video 10 min 33 sec) The Lost Men France (Promotional video) (2014), Paul Emmanuel studio, Johannesburg, South Africa, (Video 1 min 47 sec) A Quest for The Lost Men France (2014), Tshwane University of Technology, Pretoria & Institut Français, Johannesburg, South Africa, (Video 27 min 52 sec) Paul Emmanuel Talks to MICA (2011), Falvey Hall, Brown Centre, Maryland Institute College of Art, Baltimore, USA, (Video 34 min 43 sec) Marc Steiner Chats to Paul Emmanuel (2011) The Marc Steiner Show, WEAA 88.9 FM, Baltimore, USA, (Podcast 33 mins) How the Transitions Multiples Lithographs were Made (2011) Vimeo, (Video 4 min 48 sec) How the Transitions Drawings were Made (2011), Vimeo, (Video 2 min 42 sec) Paul Emmanuel South African Artist (2010) TRANSITIONS at the Smithsonian National Museum of African Art, Washington DC, USA Voice of America TV news (Video 3 min 6 sec) Transitions at Oliewenhuis Art Museum (2009), SABC News channel 3 (Afrikaans bulletin), South Africa, (Video 1 min 48 sec)

Paul Emmanuel AFTER-IMAGE (2005) Villa Arcadia, Johannesburg, Gauteng, South Africa After-image (detail), 2004. Original drawing hand-incised into exposed, colour photographic paper, 200 x 480 cm. Hollard Art Collection. Photographed by John Hodgkiss After-image , The Gallery Hall, Villa Arcadia, Hollard House, Johannesburg, Gauteng, South Africa 16 April – 15 May 2005 The fourth showing of this touring solo exhibition comprising early etchings and lithographs, photographs from ‘The Lost Men Grahamstown’ (2004) and a major drawing also entitled ‘After-image’ (2004). This drawing is permanently housed in the main reception room of Villa Arcadia as part of the Hollard Collection of South African Contemporary Art. ‘After-image’ was exhibited in South Africa at the US Art Gallery, Stellenbosch, Western Cape, The Old Fort at Constitution Hill, Johannesburg, Gauteng, Oliewenhuis Art Museum, Bloemfontein, Free State and Villa Arcadia, Hollard House, Johannesburg, Gauteng. An illustrated, colour catalogue with essay by Julia Charlton was printed and published by US Art Gallery. Related Content Publication ‘Paul Emmanuel: After-image’, US Art Gallery, 2004 Interview ‘Paul Emmanuel’, MNet TV, Kyknet, (Afrikaans & English), South Africa, 2004 Exhibition ‘After-image’, US Art Gallery, 2004

Paul Emmanuel REMNANTS (2016) 808 Gallery, Boston University, Massachusetts, USA Remnants , 2016, 808 Gallery, Boston University, Massachusetts, USA Remnants , 808 Gallery, Boston University, Massachusetts, USA 28 January – 20 March 2016 This solo, museum exhibition features artworks related to Emmanuel's counter-memorial, ‘The Lost Men France’, which was installed adjacent to the Thiepval Memorial to the Missing of the Somme in 2014. ‘The Lost Men France’, the 3rd in his ‘The Lost Men’ series, comprised 5 large silk banners depicting the artist's body bearing names of WWI servicemen from all nations pressed into his skin. ‘Paul Emmanuel: Remnants’ underscores concepts of loss, memory and memorialisation in an installation centred around the 'remnants' of ‘The Lost Men France’ banners, torn and battered by the winds of the Somme. The banners are complemented by videos, drawings, prints and plaster casts of the artist's body. An artist talk and panel discussion were presented at Boston University in conjunction with this exhibition. Related content Counter-memorial ‘The Lost Men France’, Thiepval Memorial to the Missing of the Somme, France, 1 July – 1 October 2014 Publication ‘Remnants’, 2016. Text by Pamela Allara, Boston. Boston University, USA. Bulletin sheet, 4 pp, 280 x 176 mm. ISBN n/a. Out of print

Paul Emmanuel TRANSITIONS (2011) Rosenberg Gallery, Maryland Institute College of Art, Baltimore, USA Exhibition view of Transitions , Rosenberg Gallery, Brown Center, Maryland Institute College of Art (MICA), Baltimore, USA, 9 September – 2 October 2011 Transitions , Rosenberg Gallery, Brown Center, Maryland Institute College of Art, Baltimore, Maryland, USA 9 September – 2 October 2011 ‘Transitions’ documents shifting male identity. This was the 9th showing of this touring solo museum exhibition comprising an installation of 5 original drawings, courtesy of the Spier Contemporary Collection and the short film ‘3SAI: A Rite of Passage’ (2008). ‘Transitions’ premiered at The Apartheid Museum, Johannesburg South Africa in 2008 and debuted internationally at the Smithsonian National Museum of African Art, Washington DC, USA in 2010. Art Source South Africa are managers of Emmanuel's ‘Transitions’ project. Artists statement In late 2004 I was exploring how the military influenced and perpetuated notions of masculinity in South Africa. One morning, while thinking about moments of change, I decided to photograph an actual military recruit head shaving while it was happening – to witness to an unfolding drama. After some research, I discovered that there were only two remaining military bases in South Africa which still perform this obligatory ‘rite of passage’ on their premises, one in Oudtshoorn and the other, Third South African Infantry Battalion (3SAI) in Kimberley. I phoned the Kimberley base, spoke to the Officer-in-Command and arranged a visit to photograph head shavings from the January 2005 intake. I remember feeling apprehensive of what I would find. I did not do military service. I only had references to military experiences told to me by my older brother and friends, who described their head shaving experiences of the apartheid military regime of the 1980s – their stories of feeling dehumanised, lots of shouting, indifference, bigotry and fear. Instead, I found a very different setting ... quiet lawns with well tended flower beds full of roses. Lines of recruits waiting patiently. No shouting. No authoritarianism. No evidence of the violent breaking down of the human spirit. Compared with the horror stories related to South Africa’s past, the equanimity of the scene was arresting. I was spellbound. These liminal moments of transition, when a young man either voluntarily – or is forced to – let go of one identity and take on a new identity as State Property with an assigned Force Number, prompted me to ask many questions: What was I actually witnessing? What is a “Rite of Passage” and how have similar “rituals” helped to form and perpetuate identities and belief systems throughout history? Why was I so powerfully drawn to and transfixed by these dramatic spectacles of subtle change and moments of suspended possibility and impossibility? And so began an intensely reflexive outward and inward journey, in and beyond my studio, which was to last four long years ... Related Content Documentary How the ‘Transitions’ Drawings were Made, 2011, video 2 min 42 sec Artist’s talk Paul Emmanuel Talks to MICA (2011), Falvey Hall, Brown Centre, Maryland Institute College of Art, Baltimore, USA, (Video 34 min 43 sec) Radio interview Marc Steiner Chats to Paul Emmanuel, 2011, The Marc Steiner Show, WEAA 88.9 FM, Baltimore, USA, (Podcast 33 mins) Exhibition ‘Transitions Multiples’, Goya Contemporary Gallery, 2011 Film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, Apartheid Museum, 2008 Publication ‘Transitions’, Art Source South Africa, 2008