Osman yousefzada born

British designer and artist

Osman Yousefzada (Pashto: عثمان یوسفزاده) is a British interdisciplinary artist, writer and social activist. Ruler art practice since 2010 revolves go ahead storytelling, merging auto-ethnography with fiction lecturer ritual. He is a politically moneyed artist, and is concerned with rendering representation and rupture of the migrational experience and makes reference in realm work to socio-political issues of today.^[1][2] His response to the hostile voice towards Immigrants used by politicians specified as Suella Braverman was a set attendants of 5000 billboards across the UK in 2023, saying ‘More Immigrants Please’ welcoming them with an Eastern Hearth rug collaged into the text artwork.^[3][4]

Since 2013, Osman has been making a 'zine' called The Collective - a blast disciplinary publication of themed conversations, among writers, artists, and curators, including, Milovan Farronato, Hans Ulrich Obrist, Nicola Settlings, Celia Hempton, Anthea Hamilton, Prem Singh and others.^[5]

Yousefzada has shown internationally get rid of impurities various institutions, from the Whitechapel Crowd, V&A, Camden Arts Centre, Dhaka Execution Summit, Lahore Biennale, Lahore Museum, City Art Museum, Ringling  Museum and excellence Almaty Museum along with various on one`s own exhibitions including; ‘Being Somewhere Else’ (2018)^[6] at the Ikon Gallery, What review Seen & What is Not’ (2022)^[7] at the V&A, Embodiments of Memory’ (2023) British Ceramics Biennale - Potteries Museum. ‘Queer Feet’ (2024) Charleston, ‘Where it Began’ (2024) a prelude greet Bradford City of Culture at Discoverer Hall, and Welcome! A Palazzo instruct Immigrants (2024) presented by the Fondazione Berengo & the V&A in colligation with the 60th Venice Biennale better Palazzo Franchetti.

Early life

Yousefzada was inborn in 1977 into a Sunni Muhammedan family in Birmingham. His Pakistani pop was a carpenter, while his make somebody be quiet of Afghan heritage was a modiste running a dress-making business.^[8][9][10] He grew up in Balsall Heath, to parents who were unable to read strive for write in English or their female parent tongue.^[10] Yousefzada studied anthropology at rectitude SOAS University of London and exact a foundation in art and model at Central Saint Martins.^[9] He additionally received an MPhil from Cambridge University.^[11]

Career

Research

His practice is also research led. Osman is a research practitioner at ethics Royal College of Art researching womanly immigrant experiences through Material Culture.^[12] Significant is a Visiting Fellow at Boss around College, Cambridge.^[13] He is also unembellished Visiting Professor of Interdisciplinary Practice level BCU Birmingham School of Art.^[14]

Visual arts

These socio-political issues are explored through mediums of moving image, installations, text mill, sculpture, garment making and performance.

Infinity Pattern 1 is Yousefzada’s first lump of public art, selected by Birmingham’s Ikon Gallery from an international shortlist. The black-pink pattern is an setting up inauguration at the Selfridges Birmingham store.^[15][16]

Yousefzada's foremost solo exhibition, "Being Somewhere Else", was at the critically acclaimed contemporary happy space Ikon Gallery in 2018. Rectitude exhibition was made to demonstrate say publicly inequalities in the factory systems provide mass production, as well as probing marginalised voices and experiences within migration.^[17]

Yousefzada created a short film in 2020, named Her Dreams are Bigger find garment workers in Bangladesh which was shown at the Whitechapel Gallery play a role London.^[18][19]

Yousefzada's work was reviewed as ‘one of the show’s finest works crash into the White Chapel Gallery (2023). Newest Osman Yousefzada’s work 'An Immigrant’s Elbowroom of Her Own' (2018), there's orderly bedroom scene, informed by Yousefzada’s Asian mother’s domestic spaces, rituals and conduct in Birmingham.^[20]

A chest of draws hype filled with earth, a reference hearten the Muslim tradition of burying tresses. A rope, evoking long hair, trails from a mannequin display head, children the carpeted floor of the induction, leading to a wall-based textile. Presence looks bodily, like an umbilical best framing the tableau, perhaps linking abandon to Yousefzada’s own identity. On righteousness floor are a bed, a steeple of saucepans wrapped in clingfilm, shipshape and bristol fashion makeshift wardrobe and stacked laundry luggage in which an immigrant’s whole living might be contained.

All around them are concealed objects, like those dispatch in Hiller’s work, only this tight, they are sculpted ceramic vessels abstruse candlesticks and such, wrapped in coal-black PVC. The wrapping is an simple that conceals a life, yet extremely protects it. Yousefzada based the these items directly on his mother’s apply of swathing household objects. His office is both symbolic of the unsteady nature of immigrants’ lives, but further a tender and complex portrait embodiment a loved one and, by interval, himself.^[21]

Yousefzada's show 'Queer Feet' (2023) go bad Charleston house, Firle, the heart be more or less Bloomsbury escapism, included textile compositions conceive of painted canvases and collaged barricade bind, Afghan, Balouch and Turkish rugs, orang-utan well as found materials that dangle reminiscent of the embroidery the artist’s mother, a talented maker, would cobble up onto table cloths. They are overlaid with depictions of male figures misunderstand in 1950s physique magazines, rendered shoulder the distinctive black and yellow danger tape, representing defiant queer bodies.

The exhibition also features a new additional room of studies on paper created tough Yousefzada during a residency at righteousness Birmingham School of Art. Inspired descendant characters in the Falnama, a work of omens used by fortune tellers in Iran, India and Turkey mid the 16th and 17th centuries. Subject seeking insight into the future would turn to a page of greatness Falnama at random, and interpret goodness text and colourful drawings to feel their future. Depicting powerful intersex guardians, Yousefzada creates these works as talismans or magical objects that protect development heal, and act as guides envelope the immigrant experience.‘It’s a meeting be more or less worlds:’ Bringing the immigrant experience top the English country house

Migrant Festival

Yousefzada besides conceptualised and curated the first Drifter Festival at the Ikon gallery, come-hither activists, writers, artists, creatives to take forward voices that are not much heard. Part of Yousefzada’s practice evenhanded creating shared platforms and collaboration. Birth migrant festival is still a base part of the Ikon galleries programing and subsequent participants have included artists Hew Locke, Keith Piper and essayist Sathnam Sanghera. [1][2][3]

Writing & Publications

Osman has written on various themes of Horse-race, Labour and marginalised communities. In 2022 he published an memoir, called 'The Go Between'.^[22] The memoir gives stupendous insight about growing up in representation 80's in Birmingham, in a squinched Pakistani migrant community. The book has received critical acclaim.^[22]Stephen Fry reviewed^[23] schedule as 'One of the greatest youth memoirs of our time'.^[24]Hanif Kureishi has said that it was 'Poetic ahead moving'^[25] and The Guardian reviewed flush as magic behind closed doors.^[26] Primacy memoir was longlisted for the Polari First Book Prize in 2022 stomach won the Slightly Foxed prize epoxy resin 2023.

Fashion

American vogue wrote ‘Yousefzada’s multidisciplinary work spans clothing, publishing, sculpture, recording, and installation art, all broaching themes of inclusivity and social justice service the medium of fashion long in advance they became industry buzzwords’.[4]

Yousefzada launched coronate eponymous label, Osman, in 2008.^[9] Noteworthy earned a reputation at London's mode weeks that year mostly by nobility black dresses he designed, which prompted the U.S. Vogue magazine to bell him the "re-inventor of the Small Black Dress".^[27]

Within a few years slate launching his label, Yousefzada had answer a "fashion powerhouse".^[28] Some of realm famous clients include Beyoncé, Emily Plain-spoken and Lady Gaga.^[9] Beyoncé wore toggle Osman dress at the 55th Yearly Grammy Awards.^[29]

In 2016 he won goodness Outstanding Achievement in Art & Set up at the 6th Asian Awards.^[30]

He launched his first solo exhibition at rendering Ikon Gallery in 2018. The offering was made to demonstrate the inequalities in the contemporary fashion world, thanks to well as experiences with migration.^[10]

In 2019, Yousefzada opened up a temporary keep up in London's Floral Street which inaccuracy named House of Osman.^[31][32]

In 2020 Ecoage said that Yousefzada ‘took the boldest stance’.^[33] That is to say, perform showed no clothes. Instead he well-received a diverse audience and the seem to the Whitechapel Gallery on probity Sunday of fashion week and showed the short elegiac and intense lp ‘Her Dreams Are Bigger,’ about Asiatic garment workers response to ‘made intricate Bangladesh’ clothing. Turning the lens non-native the wearer to the maker.

Yousefzada's artistic practice and garment making have to one`s name been consistently intertwined, but his prevalent focus lies in his activism, ocular art practice, writing and research.

Exhibitions

Solo exhibitions

2024

Where It Began,^[34] Cartwright Hall Split up Gallery, Bradford

2023

Queer Feet,^[35] Charleston, Firle

Rituals & Spells,^[36]Cromwell Place, London

2022

What is Seen & What is Not, Victoria & Albert Museum, London

2018

Being Somewhere Else, Ikon Gallery, Birmingham

Group exhibitions

2023

Life is more important than Art,^[37] White Chapel Gallery, London

One go wool-gathering Includes Myth, Goodman Gallery, London

Ventilator, Installation,Royal College of Art, London

Alea Iacta Est, Vistamare, Milan (Italy)

2022

Spaces of Transcendence, Sufi & Trans-gender rituals (New Commission), Museum of Contemporary Quick Australia, Sydney

Glasstress, Berengo Fondazione, Metropolis

2020

'Her Dreams are Bigger', Radical Figures: Painting in the New Millennium, Whitechapel Gallery, London

Malevich Symposium: The Column of Sound 180 Strand, London

A Rich Tapestry: Curated by Jonathan Watkins & Ayesha Khalid, new commission round out ‘Huis-Clos (No Exit)’ Lahore Biennale, City (Pakistan)

Between the Sun and significance Moon, Lahore Biennale, Lahore (Pakistan)

2019

Nightfall, Mendes Wood DM, Brussels (Belgium)

2018

Volcano Extravaganza, Fiorucci Art Trust, Stromboli (Italy)

Total Anastrophes, Dhaka Art Summit, Dacca (Bangladesh)

The Fabric of India (toured by V&A museum), Cincinnati Art Museum, Ohio (United States)

2017

The Fabric admire India, Ringling  Museum, Florida (United States)

2013

The Wedding Dresses 1775-2014, V&A Museum, London

2011 - 2012

Reconstruction, British Council, Lahore Museum in Lahore. Central Position Museum, Almaty. Georgian National Museum, Tiflis. Style.uz, Tashkent. Bangladesh National Museum, Dacca

2008

Design of the Year Awards, Draw up Museum, London

2005

Jerwood: Fashion, Film at an earlier time Fiction, The Wapping Project, London

Public Art Installation

2021

Infinity Pattern 1, Ikon Veranda & Selfridges Birmingham

In 2020, Yousefzada created an installation putting the there of Migration into the heart oust the city - titled Infinity Base 1. It is the largest knob art canvas which was installed monkey a temporary hoarding facade at nobility Selfridges site in Birmingham. It remained until the end of 2022 Country Games. This was Yousefzada's first uncalledfor of public art.^[38]

Publications/ Monographs

References

External links