London Drawing in the Reading Room

Earlier this year, art collective London Drawing took over an area of our Reading Room to engage visitors and inspire them to get creative. The stand out activity was their Renaissance Selfies, relating to the theme of ‘face’. The co-director of the collective, Anne Noble-Partridge, tells us more about this fun, simple and effective photo opportunity.

As an artist I have always been interested in the way the frame of a photograph can remove an image from its true surroundings; the way you can play with reality through the ‘reality’ of the camera lens is fascinating.

It all started while I was on holiday in Italy, having overdosed on Italian Renaissance paintings. I whiled away a wet evening messing about taking self portrait photographs in the Renaissance style using what I had around me: an embroidered bedspread, sun visor and pillowcase. I really enjoyed the process and got quite engrossed in it. Continue reading


Would like to meet: Rob

This blog series gives you a chance to find out a little more about the people behind the desk at Wellcome Collection, the team of artists, academics, musicians, researchers, comedians and more. Among many other things, they invigilate galleries; write and provide tours and “busking” sessions; they work on exhibitions, events and special projects; and they offer information and guidance to our visitors every day. It’s all in a day’s work for our VEAs, so come and meet the team.

Nelly Ekström introduces Rob Bidder, one of our Visitor Experience Assistant (VEA) team members bringing the galleries and exhibitions to life. 

It’s time for Rob to take the stage. Rob is one of the most experienced members of the team: he’s been at Wellcome Collection about four and a half years. He calls himself a Jack of all trades and master of none; those fortunate enough to work with him know that he is in fact the master of a great many things. Continue reading


Inspired: Alchemists and housewives around a long table

Sometimes provocative and always interesting, this series of shorter stories can be inspired by pretty much anything in Wellcome Collection and offers a quick insight into some of the themes we explore. This one comes from Elissavet Ntoulia.

Working in a museum that explores the human condition, you develop the skill of spotting connections between elements that at first glance seem to randomly coexist. Sometimes inspiration comes from as trivial a thing as the choice of furniture: a long table in our Reading Room, for example, situated at the centre of a section exploring the themes of Alchemy and Food. Other sections explore only a single theme, like Body or Pain. So why have Alchemy and Food been paired together?

Possible answers are connected to human curiosity for experimentation and the quest to understand the body’s relationship with nature and the wider universe. Continue reading



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.

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Meredith Monk’s Ascension Variations (2009) in New York’s Guggenheim Museum.

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


Inspired: The antiquity of speech

Sometimes provocative and always interesting, this series of shorter stories can be inspired by pretty much anything in Wellcome Collection and offers a quick insight into some of the themes we explore. This one comes from Rock Webb.

The first caption as you enter the gallery for ‘THIS IS A VOICE‘ exhibition states “voice is the original instrument”. Further, that original human voice, or song, has its origins in the need for humans to socially attach as changes took place within human evolution. Hominins essentially developed a new method of bonding to replace the increasingly inefficient and time-consuming physical grooming; vocal grooming if you like. Speech as we know it is exclusively human. It is behaviourally advanced and unprecedented, involving extraordinary use of our lips, tongue, larynx and as well as our brain. Continue reading


How we created the soundtrack for the THIS IS A VOICE trailer

Producing trailers for Wellcome Collection often involves hunting around for that perfect music track to cut to. Some are thoughtful; some are more downbeat. All are essential for conveying the mood of the show. Our Multimedia Producer Chris Chapman speaks to artist David Toop about creating a distinctive soundtrack for one of our current exhibitions.

THIS IS A VOICE‘ was always going to be different. I knew the soundtrack needed to be something very human, but also quite unusual. Our music library certainly wasn’t the place to look.

After chatting to exhibition curator, Bárbara Rodríguez Muñoz, I discovered that David Toop was due to host one of the Voicings events during the exhibition. He had been one of the original members of The Flying Lizards, an experimental 1980s art-rock group, with hits such as ‘Money’ and ‘TV’.

As well as an established author and the Chair of Audio Culture at London College of Communication, David continues to produce and perform experimental music, much of it based on vocalisations. After an introduction over a cup of tea, David was on board. Continue reading

"Everyday Objects Belonging to a Voice Hearer / Everyday Objects Belonging to a Non Voice Hearer", 2016, on display in 'THIS IS A VOICE'.

Hearing Voices: On Curiosity

Seven young voice hearers, aged 14-19, collaborated with artist Hannah Hull to create a significant body of artwork that comments on a key theme in our current exhibition ‘THIS IS A VOICE’. This artwork aims to evoke and challenge the viewer’s expectations of a voice hearer. Hannah tells us more about it and considers the ethics of such an artwork.

The experience of working with seven young women who hear voices has been incredible. I couldn’t have asked for a more creative, smart and sensitive group to co-produce artwork with for the current Wellcome Collection exhibition. They challenged me and my practice to the fullest, and it has been one of the most rewarding art projects I have undertaken to date.

There is so much I want to communicate about this body of work, but I’m going to talk about the one thing that is conspicuously absent from our main artwork: details about the experience of hearing voices. Continue reading