Uploaded June 2021 | Updated September 2026, 1 week ago
Join poet and artist Khairani Barokka and curator Bárbara Rodríguez Muñoz for this conversation about Khairani’s new work ‘[Molekuler]’.
This new work consists of poetry and images that weave together narratives from headlines, histories and personal experiences during the pandemic. ‘[Molekuler]’ critiques the notion of what was ‘hidden’ during the Covid-19 pandemic. Accessibility is creatively woven into the work, with the poems describing the images.
Bárbara and Khairani will talk about the making of the work and will explore intertwined stories, from colonial legacies to today’s health inequities. Khairani will also read extracts from the work alongside sharing some of the images. The speakers will self-describe and describe visual elements of the event.
‘[Molekuler]’ was commissioned by Wellcome Collection as part of a programme of new artworks for the collection interrogating the impact of the UK government Covid-19 campaign ‘Stay at Home, Protect the NHS, Save Lives’.
About your contributors
Khairani Barokka
Speaker
Khairani Barokka (b. Jakarta, 1985) is a writer, poet and artist in London. She’s a practice-based researcher, whose work centres disability justice as anti-colonial praxis. Among her honours, she was an NYU Tisch Departmental Fellow for her Masters at ITP (Interactive Telecommunications Program), and Indonesia’s first Writer-In-Residence at Vermont Studio Center. She was Modern Poetry in Translation’s Inaugural Poet-in-Residence, and is currently Research Fellow at University of the Arts London’s Decolonising Arts Institute, Associate Artist at the National Centre for Writing (Norwich, UK) and Associate Artist at Delfina Foundation.
Bárbara Rodríguez Muñoz
Host
Bárbara Rodríguez Muñoz is a curator at Wellcome Collection, London. Her exhibitions include ‘This is a Voice’ (2016), ‘Bedlam’ (co-curated with Mike Jay, 2016), ‘Ayurvedic Man’ (2018), ‘Jo Spence and Oreet Ashery: Misbehaving Bodies’ (co-curated with George Vasey, 2019 –20) and ‘Un encuentro vegetal’/‘Rooted Beings’ (forthcoming: La Casa Encendida/Wellcome Collection). Bárbara is Guest Editor of the anthology ‘Documents of Contemporary Art: HEALTH’ (2020). She has written for Afterall, Concreta, Les Laboratoires d’Aubervilliers, MARG and Mousse Publishing. She holds a Masters in Curating Contemporary Art from the Royal College of Art, London.
Find us on Facebook: facebook.com/wellcomecollection
Follow us on Twitter: twitter.com/explorewellcome
See us on Instagram: instagram.com/wellcomecollection
Join poet and artist Khairani Barokka and curator Bárbara Rodríguez Muñoz for this conversation about Khairani’s new work ‘[Molekuler]’.
This new work consists of poetry and images that weave together narratives from headlines, histories and personal experiences during the pandemic. ‘[Molekuler]’ critiques the notion of what was ‘hidden’ during the Covid-19 pandemic. Accessibility is creatively woven into the work, with the poems describing the images.
Bárbara and Khairani will talk about the making of the work and will explore intertwined stories, from colonial legacies to today’s health inequities. Khairani will also read extracts from the work alongside sharing some of the images. The speakers will self-describe and describe visual elements of the event.
‘[Molekuler]’ was commissioned by Wellcome Collection as part of a programme of new artworks for the collection interrogating the impact of the UK government Covid-19 campaign ‘Stay at Home, Protect the NHS, Save Lives’.
About your contributors
Khairani Barokka
Speaker
Khairani Barokka (b. Jakarta, 1985) is a writer, poet and artist in London. She’s a practice-based researcher, whose work centres disability justice as anti-colonial praxis. Among her honours, she was an NYU Tisch Departmental Fellow for her Masters at ITP (Interactive Telecommunications Program), and Indonesia’s first Writer-In-Residence at Vermont Studio Center. She was Modern Poetry in Translation’s Inaugural Poet-in-Residence, and is currently Research Fellow at University of the Arts London’s Decolonising Arts Institute, Associate Artist at the National Centre for Writing (Norwich, UK) and Associate Artist at Delfina Foundation.
Bárbara Rodríguez Muñoz
Host
Bárbara Rodríguez Muñoz is a curator at Wellcome Collection, London. Her exhibitions include ‘This is a Voice’ (2016), ‘Bedlam’ (co-curated with Mike Jay, 2016), ‘Ayurvedic Man’ (2018), ‘Jo Spence and Oreet Ashery: Misbehaving Bodies’ (co-curated with George Vasey, 2019 –20) and ‘Un encuentro vegetal’/‘Rooted Beings’ (forthcoming: La Casa Encendida/Wellcome Collection). Bárbara is Guest Editor of the anthology ‘Documents of Contemporary Art: HEALTH’ (2020). She has written for Afterall, Concreta, Les Laboratoires d’Aubervilliers, MARG and Mousse Publishing. She holds a Masters in Curating Contemporary Art from the Royal College of Art, London.
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)




