Talks & Seminars
Queering Power: Osman Yousefzada in conversation with Gemma Rolls-Bentley
Explore the exhibition ‘When will we be good enough?’ and Osman Yousefzada’s wider practice through a queer lens.
In the exhibition, queer communities are presented as spaces of resistance, providing hope of an alternative future and a means of escape from the power structures, past and present.
This discussion provides an opportunity to delve deeper into these key aspects of the show with two queer icons, Yousefzada himself and internationally acclaimed curator and writer, Gemma Rolls-Bentley.
Osman Yousefzada is a British born, internationally recognised interdisciplinary artist and writer who describes his practice as auto ethnographic, where personal stories become political. His South Asian heritage is a strong influence in his craft-inspired, sculptural practice.
Gemma Rolls-Bentley has been at the forefront of contemporary art for almost two decades, working passionately to champion diversity in the field. Her debut book Queer Art; From Canvas to Club and the Spaces Between was published in Spring 2024 by Frances Lincoln and has been highlighted as a must-read by Them, Dazed, Timeout, The Guardian, Cultured and the FT.
This discussion provides an opportunity to delve deeper into these key aspects of the show with two queer icons, Yousefzada himself and internationally acclaimed curator and writer, Gemma Rolls-Bentley.
Osman Yousefzada is a British born, internationally recognised interdisciplinary artist and writer who describes his practice as auto ethnographic, where personal stories become political. His South Asian heritage is a strong influence in his craft-inspired, sculptural practice.
Gemma Rolls-Bentley has been at the forefront of contemporary art for almost two decades, working passionately to champion diversity in the field. Her debut book Queer Art; From Canvas to Club and the Spaces Between was published in Spring 2024 by Frances Lincoln and has been highlighted as a must-read by Them, Dazed, Timeout, The Guardian, Cultured and the FT.
CREDIT
