We invited artists to programme or perform live vocalisations in the ‘THIS IS A VOICE‘ gallery space over the show’s run (exhibition closes 31 July). These daily events offered an intimate, behind-the-scenes glimpse into the mechanics of voice production and vocal exercises. Elissavet Ntoulia reflects on this unorthodox programme of events.
59 live performances over 10 weeks by 9 artists inside ‘THIS IS A VOICE‘ exhibition: Voicings can officially go down in Wellcome Collection’s exhibition history as the first programme of daily live performances.
Although performance in museums is not new, the recent opening of the new Tate Modern has shown yet again how performance has been gaining ground recently in big institutions. It can vary from large scale, all-building occupations like Meredith Monk’s (whose work also features in ‘THIS IS A VOICE’) Ascension Variations (2009) in New York’s Guggenheim, to in-gallery performances like that of the work of choreographer Merce Cunningham in Barbican’s ‘The Bride and the Bachelors: Duchamp with Cage, Cunningham, Rauschenberg and Johns’ exhibition (2013). Performance art of any kind and scale has also been seen by institutions as adding value towards their effort for creating unique visitor experiences and offering increased opportunities for interaction and participation. Continue reading