Uploaded October 2021 | Updated September 2026, 1 week ago
Watch a screening of ‘The Joy Inside Our Tears’, Harold Offeh’s installation in our ‘Joy’ gallery. Then listen to a conversation between Harold and curator George Vasey.
They discuss the inspiration behind the piece, including Harold’s interest in collective dance in relation to traumatic histories, from queer communities of colour in 1990s danceathons to medieval dancing plagues. They also talk about the context of making art about collective joy during a national lockdown.
About your contributors
Harold Offeh (he/him)
Speaker
Harold Offeh is a UK-based artist working in a range of media including performance, video, photography, learning and social arts practice. Offeh is interested in the space created by inhabiting or embodying histories, using humour to confront the viewer with historical narratives and contemporary culture. He has exhibited widely in the UK and internationally, including Tate Britain and Tate Modern, South London Gallery, Turf Projects (London), Kettle’s Yard, Wysing Arts Centre Studio (Cambridge), Studio Museum Harlem (New York), MAC VAL (France) Kunsthal Charlottenborg (Denmark) and Art Tower Mito (Japan). He recently completed a PhD exploring the activation of Black album covers through performance. He is a Reader in Fine Art at Leeds Beckett University and a tutor in Contemporary Art Practice at the Royal College of Art.
George Vasey (he/him)
Host
georgegvasey.com
George Vasey is a curator currently working on projects with Wellcome Collection and Leeds Art Gallery. He has curated exhibitions and projects in public, academic and commercial contexts. He has previously worked as a curator at the Northern Gallery for Contemporary Art, Sunderland and as a curatorial fellow at Newcastle University. In 2017 he co-curated the Turner Prize. His writing has been published in Art Monthly, Art Review, Burlington Contemporary, Frieze and Mousse, as well as numerous artists’ catalogues and books. He regularly teaches and has mentored artists, writers and curators for various organisations.
Find us on Facebook: facebook.com/wellcomecollection
Follow us on Twitter: twitter.com/explorewellcome
See us on Instagram: instagram.com/wellcomecollection
Watch a screening of ‘The Joy Inside Our Tears’, Harold Offeh’s installation in our ‘Joy’ gallery. Then listen to a conversation between Harold and curator George Vasey.
They discuss the inspiration behind the piece, including Harold’s interest in collective dance in relation to traumatic histories, from queer communities of colour in 1990s danceathons to medieval dancing plagues. They also talk about the context of making art about collective joy during a national lockdown.
About your contributors
Harold Offeh (he/him)
Speaker
Harold Offeh is a UK-based artist working in a range of media including performance, video, photography, learning and social arts practice. Offeh is interested in the space created by inhabiting or embodying histories, using humour to confront the viewer with historical narratives and contemporary culture. He has exhibited widely in the UK and internationally, including Tate Britain and Tate Modern, South London Gallery, Turf Projects (London), Kettle’s Yard, Wysing Arts Centre Studio (Cambridge), Studio Museum Harlem (New York), MAC VAL (France) Kunsthal Charlottenborg (Denmark) and Art Tower Mito (Japan). He recently completed a PhD exploring the activation of Black album covers through performance. He is a Reader in Fine Art at Leeds Beckett University and a tutor in Contemporary Art Practice at the Royal College of Art.
George Vasey (he/him)
Host
georgegvasey.com
George Vasey is a curator currently working on projects with Wellcome Collection and Leeds Art Gallery. He has curated exhibitions and projects in public, academic and commercial contexts. He has previously worked as a curator at the Northern Gallery for Contemporary Art, Sunderland and as a curatorial fellow at Newcastle University. In 2017 he co-curated the Turner Prize. His writing has been published in Art Monthly, Art Review, Burlington Contemporary, Frieze and Mousse, as well as numerous artists’ catalogues and books. He regularly teaches and has mentored artists, writers and curators for various organisations.
Find us on Facebook: facebook.com/wellcomecollection
Follow us on Twitter: twitter.com/explorewellcome
See us on Instagram: instagram.com/wellcomecollection
![POV: Its 1955 and youre taking a visit to Wellcome #shorts
POV: Its 1955 and youre taking a visit to Wellcome*
See the Coronation banners along Euston Road, take in views over Bloomsbury, relax in the verdant Euston Square Gardens.
*(Known then a bit more formally as Wellcome Historical Medical Museum and Library)
Watch the full video The Story of Wellcome Foundation Ltd here: https://wellcome.info/1950s
[Alt text: We open on London’s Euston Road in the 1950s. Bright red routemaster buses race past the fronts of Friend’s House and Wellcome. Banners on lamp posts read “ERII” for the nation’s new monarch whose seven decade reign has only just begun.
Followed by footage of the neo-classical facade of 183 Euston Road where Union flags and the flags of the Commonwealth billow from the roof. The sky is clear and blue, a good day to be off work.
We then are transported to the roof of Wellcome where you can see Euston Road from above: we see what would later be the Cider Tap pub, the now sadly reduced London Plane trees of Euston Square gardens and in the distance are the magnificent Italian Gothic revival towers of St Pancras station.
Then a panning shot of Bloomsbury: Euston Church, the austere tower of Senate House Library that inspired Orwell’s Ministry of Love and the dome of UCL which doubled for the British Museum in 1990s classic “The Mummy” (but thats still 40 years away).
A shot of Big Ben and then we are on street level again. Cars speed down the road while pedestrians amble and our trip to a Wellcome which is both familiar and foreign is over.] POV: Its 1955 and youre taking a visit to Wellcome #shorts](https://i.ytimg.com/vi/rvlQpy0RiYU/mqdefault.jpg)


![How can water start a war?
Water is a vital part of life, yet only 3% of the Earth’s water is fresh.
The earliest account of a war for water comes from the Sumerian poem ‘Gilgamesh and Aga’ from the ‘Epic of Gilgamesh’, composed around 2100–2000 BCE.
King Aga demands to enslave the subjects of King Gilgamesh of Uruk to dig wells for his city. Aga threatens to cut off Uruk’s water supply upstream on the Euphrates River if Gilgamesh refuses. A blend of historical record and mythology, the poem illustrates how important access to freshwater has been since early civilisations.
This tablet features in our exhibition “Thirst: In Search of Freshwater” which explores humanity’s vital connection with freshwater – an essential source of life and pillar of good health for people and planet. Find out more and plan your visit here: wellcome.info/thirst
[Alt text: Curator Janice Li holds a replica of a 4,000-year-old tablet in our exhibition Thirst: In Search of Freshwater. Her retelling is illustrated by stone reliefs of King Aga and King Gilgamesh, and a map showing the Tigris and Euphrates Rivers.]
Credit: Gilgamesh and Aga cuneiform tablet, Unknown maker, Old Babylonian (c. 1900–1600 BCE), present-day Iraq, Clay, Courtesy of the University of Manchester JRL 0931 How can water start a war?](https://i.ytimg.com/vi/tKbonEvluh4/mqdefault.jpg)





![What did Egypt and Jerusalem look like 150 years ago?
Egypt and Jerusalem as seen by German painter Karl Werner in the 1860s.
Yearn to be a traveler in an antique land? Take all the time you need with these paintings which are fully digitised on our collections website: https://wellcome.info/werner
Alt text:
1: Humans and camels look tiny before the colossal Sphinx and Great Pyramid of Giza. 40357i
2: A campfire, with a small group huddled around it, lights up the carvings on the statues of Memnon. Three millennia after his death, these statues of Pharaoh Amenhotep III still tower over mortal men. 40355i
3: A small group gathers under a wall which is covered in hieroglyphics. 40358i
4: Camels pass over a sun baked landscape and by the ruined tomb of Sultan Barsbai. 40352i
5: A small boat piled high with reeds is piloted by a man in a fez down the river Nile near Akhmim. 40353i
6: A monk and others pray in a church, decorated with icons, situated in the same land where their faith was born. 30532i
7: A man smoking a long pipe sits high upon a camel while a crowd bustles below. 25469i
8: As humans look tiny compared to the Pyramids, they themselves are rendered insignificant to the immensity of the Earth. Across the desert the pyramids of Giza look minute. 40352i
9: In the shadows of a shop a man smokes a long pipe while another plays a stringed instrument. Out in the light of the street two women in white shop. 25224
10: The river and palm trees by the temple of Isis at Philae. 40356i
11: Jewish worshippers at the Wailing Wall. 40359i
12: A shaft of light shines down in an ornate Jerusalem coffee house. A little fountain decorates this courtyard. 18120i
13: A woman in a veil sits in the shade and clutches a palm, where she sells piles of oranges from wicker baskets.
14: A tent sits in the shade in the Egyptian desert. 40357i
15: Palms, ruins and camels by the Nile at Aswān. 40354i
16: A gleaming full moon shines through the ruins of the Ancient Egyptians reflects a celestial road upon the water. 40355i] What did Egypt and Jerusalem look like 150 years ago?](https://i.ytimg.com/vi/vLHPo7ADfkY/mqdefault.jpg)
