21BF: The Bag Factory’s 21st Anniversary Exhibition — archive entry documenting Paul Emmanuel’s participation and work. Field of flames , 2011. 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 21BF: The Bag Factory’s 21st Anniversary Exhibition , Turbine Hall & Fordsburg Artists’ Studios, Johannesburg, South Africa, 3 August – 10 September, 2012 The purpose of this exhibition is to celebrate the Bag Factory and its affiliated artists' achievements over the past 21 years. Curated by Melissa Goba. Related content Exhibition ‘Transitions Multiples’, 2011 Exhibition ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 Publication ‘Transitions Multiples’, 2011 ←Previous Next→

Interviews, documentaries and recorded conversations about South African artist Paul Emmanuel’s artworks, exhibitions and practice. 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)

Between Democracies 1989 – 2014: Memory and Commemoration — archive entry documenting Paul Emmanuel’s participation and work. 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→

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.

5th Sardinia International Film Festival — archive entry documenting Paul Emmanuel’s participation and work. Still from 3SAI: A Rite of Passage , 2008. High-Definition, single-channel video, stereo soundtrack, 13 min 58 sec 5th Sardinia International Film Festival , Sassari, Sardinia, Italy, 22 – 26 June 2010 The final day of the Sardinia Film Festival 2010 , opened with the last projections of short films in competition. From 17.30 to 20.00, were screened the works in Fiction, Animation, Documentary and V-Art/Experimental categories. The ceremony began at 21.15 in the courtyard of the Quadrangle. Prizes were awarded by a jury of experts composed by Lorenzo Saglio, president of New Circle Cinema, Piero Livi, dean of Sardinian directors, Maisetti Massimo, president of the National Federation of Film Clubs, Adriana Casu, cultural worker, Marino Canzoneri, Head Humane Society Iglesias, and Nando Scanu. Awarded the best works in Animation, Italy Fiction, Fiction International, Documentary, V-Art/Experimental, Showcase Sardinia, Fedic Gold and Fedic School categories. 3SAI: A Rite of Passage (2008) was officially selected for this festival and won the Best Experimental Film award. Related content Short film ‘3SAI: A Rite of Passage’, 2008 Exhibition ‘Transitions’, 27 September – 31 December 2008 ←Previous Next→

Remnants, a 2016 solo exhibition by Paul Emmanuel at 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

Transitions, a 2009 solo exhibition by Paul Emmanuel at William Humphreys Art Gallery, Kimberley, Northern Cape, South Africa. Transitions 4 (detail), 2007. Original drawing hand-incised into exposed, colour photographic paper, 78 x 305 cm. Spier Collection. Courtesy of Art Source South Africa Transitions , William Humphreys Art Gallery, Kimberley, Northern Cape province, South Africa 15 April – 15 May 2009 ‘Transitions’ documents shifting male identity. This was the 3rd 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 Publication ‘Transitions’, Art Source South Africa, 2008 Short film ‘3SAI: A Rite of Passage’, 2008 Documentary ‘How the Transitions Drawings Were Made’, 2011 Exhibition ‘Transitions’, Apartheid Museum, 2008 Exhibition ‘Transitions’, Smithsonian National Museum of African Art, 2010

Waldsee, 1944 — archive entry documenting Paul Emmanuel’s participation and work. The Lost Men Grahamstown 1 , 2004. Photograph, archival pigments print on 300 gsm photo-rag paper Image 10,5 x 14,8 cm. Edition 20 Photographed by Andrew Meintjes. Courtesy of Grahamstown National Arts Festival and Art Source South Africa Waldsee, 1944 , 2B Galéria, Budapest, Hungary, April 2004 The 2B foundation and the Alma on Dobbin Foundation invited selected artists to participate in this touring exhibition with a postcard size work that reflected on these events of 60 years ago. The show featured The Lost Men Grahamstown I (2004). “... The letters of Holocaust victims are today preserved in archives. The postcards, letters and scraps of paper are unique documents of forced labour and deportation. They were written in the shadow of death, in most cases in the last moments of their authors’ lives. (Waldsee 1944 catalogue). In the summer of 1944, recently deported persons sent postcards to Budapest from a certain place called Waldsee. The postcards were handed to the Jewish Council in Budapest to be distributed by them to the addressees. The text of the postcards would read: ”I am doing fine, I am working.” or ”I have arrived safely. I have got work in my occupation.” or ”We are doing fine. Follow us here!” It was later discovered that the postcards came from Auschwitz...” (Hedwig Turai) Waldsee 1944 also toured to Florida Holocaust Museum, Florida, USA; St. Petersburg, Russia (Sept – Dec 2006); Hibel Museum, FAU-Jupiter, Florida, USA (Jan – March 2007); Ben Uri Gallery, London, UK (Autumn 2007); and Alper JCC, Miami, Florida, USA (April – June 2008). Related content Counter-memorial ‘The Lost Men Grahamstown’, 1 – 10 July 2004 ←Previous Next→

Transitions Multiples, a 2011 exhibition by Paul Emmanuel at 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

Substance of Shadows, a 2021 solo exhibition by Paul Emmanuel at the University of Johannesburg Art Gallery, Gauteng, South Africa. Carbon Dad 2017 , 2020, hand incised, perforated carbon paper, carbon residue, perspex rail, 110 x 440 cm Substance of Shadows , University of Johannesburg Art Gallery, South Africa 11 September – 2 October 2021 Inspired by the Human Shadow Etched in Stone at the Hiroshima Peace Memorial Museum, Hiroshima, Japan, this solo exhibition tracks Emmanuel's continued personal fascination with the tenuous nature of memory. The only certainty is change. We try to hold onto memories in the hope of maintaining some coherence and continuity, but our memories are largely inventions and they too change over time. We commemorate our invented pasts in an attempt to fix them in the present. This exhibition is a collection of works scratched by hand into delicate carbon 'paper' or film. These carbon 'shadows' are all metaphors for carbon copies and products of one of life's greatest narratives – the carbon cycle. Carbon is an element in nature. Related Content Intervention ‘Rising-falling’, General Louis Botha monument, Pretoria, South Africa, 15 June 2021 Publication ‘Substance of Shadows’, texts by Mark Auslander, Ellen Schattschneider and Paul Emmanuel, PDF Exhibition ‘Transitions’, National Museum of African Art, Smithsonian Institution, Washington DC, USA, 2010

Rising-falling, a 2021 public artwork and video intervention by Paul Emmanuel at the 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

Solo catalogues, monographs and artist books documenting Paul Emmanuel’s artworks, exhibitions and projects. Paul Emmanuel, 2020. Texts by Annette Becker, Karen von Veh and Pamela Allara. Edited by Karen von Veh. Wits Art Museum, Johannesburg. Softback, 72 pp plus cover, 260 x 240 x 7 mm. ISBN 978-0-620-87116-7 ‘Paul Emmanuel: Remnants’, 2017 ‘Paul Emmanuel: Remnants’, 2016 ‘Paul Emmanuel: Transitions Multiples’, 2011 ‘Paul Emmanuel: Transitions Multiples’, 2011 ‘Paul Emmanuel: Transitions’, 2010 ‘Transitions’, 2008 ‘Paul Emmanuel: After-image’, 2004 ‘Imbali: Printmaking workshops with Paul Emmanuel at Fordsburg Artists Studios 2003, Funded by the Ford Foundation’, 2003 ‘Ekupholeni – Place of Healing. Printmaking workshops with Paul Emmanuel at Fordsburg Artists Studios, funded by the Ford Foundation’, 2001