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Phoebus Osborne

@phoebus.osborne

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Phoebus Osborne (@phoebus.osborne) complicates the visual certitude of his materials. Swipe to learn about Phoebus’ practice and experience his solo performance “Still Wet,” at August 22 Open Studios. 

RSVP at the link in our bio. 
Photos by @emmettlevy
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6 months ago @miseryparty published this book. it’s called ~ misery meals: a crip community anti-cookbook for when eating and cooking is hard ~ conjured via drafts that had been sitting in my head for many many years, during a time that eating and cooking was very very hard, with the support of very very special people. it is a chunky little miracle with a spine that glows in the dark, and the people who birthed it - team, contributors, witnesses alike - miserable miracle makers. i’ve learned it has many functions - as a cookbook reimagined, yes, but also as a container for so many people’s gentle dreams and wisdoms, and also as a friend or many friends who really get it, whispering to each other, sharing without shame, staying present for the hard stuff, breaking bread, realising it’s stale, and helping each other turn it into croutons. we have posted copies of this book all over the world and you can also find them irl in london at @thecommonpress bookshops. if you’re in mamdanistan and would like a personal delivery lmk. tysm for the feedback/press/reviews/shares a fragment of which are shown here. i’m still getting my head round it. it’s hard to say it all, but i trust the book says enough. to your bellies and hearts forever!!! misery meals edited by @uglyinahotway afterword by @thellpsx designed by @froggy_popcorn.mp3 supported by @foodisms.co published by @miseryparty funded by @weareunltd featuring recipes and art by QTBPOC worldwide <3 https://ko-fi.com/miseryparty https://miseryparty.substack.com/
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@unison_arts was in full splendor for the launch of @upstateartweekend and Mike Medeiros’ @poesiapottery presentation of his terracotta, brick, concrete, and reclaimed industrial materials installation “Flood Futures” which imagines a post-apocalyptic potter responding to climate change, flooding, post-industrial landscapes, and survival after systems fail. It was a wonderful reunion with Mike Medeiros, a fellow sound artist in addition to his being a master ceramicist whom I met during last summer’s Upstate Art Weekend for the launch of the extraordinary “Wild Clay” series that ran through the summer of 2025 and featured a fantastic collaboration with interdisciplinary artist @koyoltzintli that ultimately led to a beautiful coming together of a remarkable group of Hudson Valley-based artists including @daria_irincheeva, @viktorshaa, @matthewmoneill, @matthewfriday68, and @sjivetin, among several others. It looks like we’ll be making some music together this summer as well, and we had a little warm up yesterday evening along with @carolannpaszek as a sign of what’s to come. Part of the Unison Arts Triennial: Art, Land and Future, curated by @jransome.curator, “Flood Futures” is presented on Unison’s beautiful property in New Paltz, NY currently alongside works by artists including Jordan Rosenow @joroseno, Agustin Diocares @agustin.diocares, and works from the Unison Arts sculpture collection. The Triennial will run through 2029 and feature an evolving landscape of diverse artists from the region including @kellyobrienart, @dippoian, @lexawalshstudios @eve_joslyn_madalengoitia, @jenniferlevineart, @destinyariannastudio, Rolando Rodriguez, and Maria Lupo. This project is made possible with funds from the Statewide Community Regrants Program, a regrant program of the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature and administered by @artsmidhudson.
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The full performance documentation of As Possible is now live online. Presented by ACOMPI at Freshkills Park on April 4, 2026, the performance marked the culmination of my two-year durational dressing project. Over the course of the project, I developed and lived within two opposing dressing scores—As Little Clothing As Possible (2024) and As Much Clothing As Possible (2025–26). For the performance, I wore As Much Clothing As Possible, reaching my limit of 80 pounds of clothing with a silhouette the size of a standard New York City door frame. Watch the full performance through the link in bio. Sound: YATTA @yatta.sound Video and Editing: Howard Silver @howrd_silver Choreography: Laurel Atwell @affirmation.machine Cast Zachary Delamater @longhaulgaultier Diva Jones @kind_of_a_diva_ Maya Kotomori @utilitiesnotincluded Branden Mayeri @brandenmayeri Tura Olivera @tura__oliveira Phoebus Osborne @phoebus.osborne Reed Rushes @reedrushes Sophie Schwartz @s_o_p_h_i_e_ Andrea Sisson @andreasisson Anne Symons @verykindof Ruby Justice Thelot @being_on_line Ray Tsou @ray.tj.tsou Kate Williams @temp.girl.1.2.3 Hair Paprika Velour @bleotch Lo Kalani @lokalanihair Bea Mitchell @highfashionbedhead Yamila Yus-Baez Heels Yuki Xu @yuki__xu Fabric Dye Jessi Highet @jessihighet Venue Freshkills Park @Freshkillspark
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Second run of FOLD is here. DM for a copy — $15. Limited quantity. A densely folded publication that unfolds into a 14-page zine and two 11×17 posters, bound with hand-dyed elastic by Jessi Highet repurposed from the costumes of AS POSSIBLE. FOLD: Internal Review [AS POSSIBLE] is an autopoietic fashion critique and runway review written by the show’s participants to be read as a script. Covering AS POSSIBLE (Freshkills Park, April 4, 2026), a photographer, videographer, and fashion writer were invited to document the performance while simultaneously performing within it as models. FOLD reports on the fashion show from the inside out rather than observing from a critical distance. Part publication, part performance, FOLD loops documentation, critique, and image-making back into the work itself. A recursive runway review system that cannibalizes the artifacts, observations, and images generated from within the original performance. Not an archive, but an afterimage: a document to be reread, reperformed, and rewritten. Contributors: Laurel Atwell @affirmation.machine Camilla Carper Phoebus Osborne @phoebus.osborne Sophie Schwartz @s_o_p_h_i_e_ Andrea Sisson @andreasisson Ray Tsou @ray.tj.tsou Poster photo and performance photo : @s_o_p_h_i_e_ Poster drawing: @ray.tj.tsou Photo of a photo: @iainmahaffey
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Fashion show coverage with an internal dialogue. FOLD turns the camera inwards documenting As Possible through its performers. LRC HOSTS FOLD: An Internal Review [AS POSSIBLE] Launch Party SUN, May 24 — 5:00–7:30 PM 140–142 Second Avenue, Suite 306 New York, NY 10003 FOLD: An Internal Review [AS POSSIBLE] An autopoietic fashion critique that endlessly loops its own circulation. Presented as both publication and live performance. FOLD operates as a recursive runway review system—cannibalizing the artifacts, observations, and documentation generated inside the original work by its performers. FOLD is reporting on a fashion show from the inside out. Originating from AS POSSIBLE (Freshkills Park, April 4, 2026), the project emerges from a two-year 24/7 dressing practice: As Little As Possible / As Much As Possible. During the culminating Freshkills Park performance of AS POSSIBLE, a photographer, videographer, and fashion writer were invited to document the event while simultaneously performing inside it as models wearing looks from Carper’s dressing projects. Rather than observing from a critical distance, each participant became embedded within the performance they were tasked with covering. FOLD: An Internal Review [AS POSSIBLE]—a runway review-script where documentation, performance, and critique fold into one another. The work resists fixed authorship. It is not archive but afterimage: a publication that can be reread, reperformed, and rewritten. FOLD: An Internal Review [AS POSSIBLE] Launch Party will take place on Sunday, May 24, from 5:00–7:30 PM at @lrcnyc.online (140–142 2nd Ave, Suite 306). Performances and readings by Laurel Atwell, Branden Mayeri, Camilla Carper, and Ray Tsou. Film screening by Honorable Profit. FOLD publication contributors: Laurel Atwell, Camilla Carper, Phoebus Osborne, Reed Rushes, Sophie Schwartz, Andrea Sisson, Ray Tsou, Kate Williams. Video by @andreasisson
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proof of (bird) life p.s. bird box vid is part of an official bird nest monitoring scheme - don’t disturb the birds :p
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An image becomes an event. A fashion show documented by its performers. LRC HOSTS FOLD: An Internal Review [AS POSSIBLE] Launch Party SUN, May 24 — 5:00–7:30 PM 140–142 Second Avenue, Suite 306 New York, NY 10003 FOLD: An Internal Review [AS POSSIBLE] An autopoietic fashion critique that endlessly loops its own circulation. Presented as both publication and live performance. FOLD operates as a recursive runway review system—cannibalizing the artifacts, observations, and documentation generated inside the original work by its performers. FOLD is reporting on a fashion show from the inside out. Originating from AS POSSIBLE (Freshkills Park, April 4, 2026), the project emerges from a two-year 24/7 dressing practice: As Little As Possible / As Much As Possible. During the culminating Freshkills Park performance of AS POSSIBLE, a photographer, videographer, and fashion writer were invited to document the event while simultaneously performing inside it as models wearing looks from Carper’s dressing projects. Rather than observing from a critical distance, each participant became embedded within the performance they were tasked with covering. FOLD: An Internal Review [AS POSSIBLE]—a runway review-script where documentation, performance, and critique fold into one another. The work resists fixed authorship. It is not archive but afterimage: a publication that can be reread, reperformed, and rewritten. FOLD: An Internal Review [AS POSSIBLE] Launch Party will take place on Sunday, May 24, from 5:00–7:30 PM at LRC (140–142 2nd Ave, Suite 306). A performed reading by Laurel Atwell, Camilla Carper, and Ray Tsou. Film screening by Honorable Profit. FOLD publication contributors: Laurel Atwell, Camilla Carper, Phoebus Osborne, Reed Rushes, Sophie Schwartz, Andrea Sisson, Ray Tsou, Kate Williams. Video by @andreasisson
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Join us on Saturday, May 16 for Open Studios with our Arts Center Residents, plus a special work in progress showing by Moriah Evans (@mosnave) and new installation by the Tempestry Project. ⏰ 12-5pm 📍 The Arts Center at @governorsisland 🔗 RSVP at the link in our bio Arts Center Residents: Garrett Allen @garrettallenn Rachel Garber Cole @rachelcoleslaw Nicole Cooper @nicolecooperartist Duy Hoàng @duyhoang Derek Lee McPhatter @dmacpnumber1 Tijay Mohammed @artoftijay Sari Nordman @sarinordman Sabrina Merayo Nuñez @sabrina_merayo_nuniez Phoebus Osborne @phoebus.osborne Marie Lloyd Paspe @mmmlloyd RedMoon Arts Movement Inc @redmoondennis Gabriela Salazar @belugasalazar Lisa Ann Schonberg @lisaannschonberg Sara Stern @sarastern._ Nora Treatbaby @noratreatbaby Tanika I. Williams @masterofdivinity Darla Migan, Stony Brook University @darlamigannyc Nobuho Nagasawa, Stony Brook University @nobuhonagasawa Seaweed City, Organization-in-Residence @seaweed_city Noga Cohen, On-Site Assistant @nogie_
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“In Phoebus Osborne’s ‘Ursula’, what began as an electroplating experiment turned into an accidental shrine to contamination, resistance, and intimate failure. Ursula, the hybrid sea witch from The Little Mermaid, resists the sleekness of technological wonder. The crystallized copper sulfate clings to its surface like an organism that has just survived. Around it, a manipulated soundtrack from Le Songe des Chevaux Sauvages seeps through the space, turning a violent tableau into a mournful homage to lives that endure. Like electroplating itself, Ursula performs a kind of material seduction that invites desire while simultaneously eroding the self’s coherence. It holds space for the unwanted, the queer, the misfit material. Even though the tank is no longer functional, its coppered skin still softly echoes Ursula’s tentacular crossings, where body, identity, and agency continually transgress the porous threshold.” text by Chiarina Chen (slightly adapted) @chiarina.chen Phoebus Osborne Ursula 2022 Glass aquarium, rust, copper sulfate, black pedestal, speaker with sound, LED panel 10 x 12 x 62 in @phoebus.osborne 𝘕𝘰 𝘍𝘰𝘰𝘵𝘴𝘵𝘦𝘱𝘴 𝘙𝘦𝘵𝘶𝘳𝘯, curated by Chiarina Chen, on view through August 9. #RAINRAIN #PhoebusOsborne #groupshow
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"of the neighborhood: a Cavafy Marathon" blew us away! The emotional poetry readings and performances were truly inspirational. Special thanks to the @poetry_project and all involved that helped realize this many-voiced tapestry! Photos by @zacharyschulmanphotography #ArchiveOfDesire #cavafyfestival #cavafyarchive #onassisfoundation #onassiscavafy #cavafypoetry
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JOIN US on Sunday June 13th for a closing performance at OyG by @phoebe.osborne 🐎 ✨ titled “tides of a faint but unambiguous white dot (fka Release the Horses (fka hydra))” as part of the group exhibition: The Displaced Image. In 2019, choreographer Phoebe Osborne began developing a trio titled hydra; a many-headed collective body in constant change, set to be performed in April 2020.  Due to the implications of the COVID19 pandemic, hydra lost this particular tendril of existence and a new solo work, Release the Horses (fka hydra), took its place. This solo attends to a void while carrying the imprints of hydra and the many voices that it held.  “tides of a faint but unambiguous white dot (Release the Horses (fka hydra))” is a performance variation of “Release the Horses (fka hydra)”  that accounts for the mutations of being a living body in a sea of continual movement. This most up-to-the-minute version will occur At Ortega y Gasset on June 13th 2021 at 3pm and 6pm EST as a live performance in the group show The Displaced Image, a group exhibition featuring the works of Anthony Peyton Young ( @anthonypeytonyoung ), Felipe Baeza ( @felipebaeza ), Ilana Harris-Babou ( @ilanahbhb ), Joeun Kim Aatchim ( @aatchim ), Peter LaBier ( @peterlabier ), Phoebe Osborne ( @phoebe.osborne ) and Tommy Coleman ( @hardwerk ), curated by OyG co-director Adam Liam Rose ( @adamliamrose ). **Visitors must wear masks at ALL TIMES while inside the gallery** Performance: Phoebe Osborne Sound Score: Colin Self Video: found and manipulated by Phoebe Osborne Photo: Fadl Fakhouri Run time: 45min [Image Description]: Performance documentation showing a Mid-thirties able-bodied white trans-masculine dancer in a grey linen costume with satin ruffles and tendrils moving with arms stretched out in an empty plaza.
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