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Science Museum opens up medical cabinet of wonders to visitors

By JULIAN SHEA in London | China Daily Global | Updated: 2019-11-19 10:07

The wide-ranging collection contains a huge variety of health-related items, from ancient funeral items through to contemporary medical equipment. PHOTO BY THE SCIENCE MUSEM AND THE MARC QUINN STUDIO

After eight years of waiting, visitors to London's Science Museum can finally enjoy the institution's biggest-ever project after its new history of medicine gallery was opened.

The display, comprising more than 3,000 pieces in five rooms across the first floor of the museum in Kensington, West London, cost 24 million pounds ($30.8 million) and covers everything from prehistoric death rituals to specially commissioned artworks by some of Britain's leading contemporary artists.

"To see it open is a real thrill," the museum's keeper of medicine, Natasha McEnroe, told China Daily. "Previously, the collection was in two much smaller galleries on a higher floor and the items hadn't been redisplayed since the 1980s, so we really felt it was due for a refresh, to dedicate a lot of space to this really important collection."

Medicine: The Wellcome Galleries, as the collection is officially known, is made up of items on long-term loan from the Wellcome Foundation, a politically and financially independent foundation active in the field of medical research and education. It covers all countries and eras, to emphasize the universality of the importance of health.

"It's something all of us can relate to, so the galleries reflect that, telling stories from across the globe and across the centuries, which are relevant to us all," McEnroe explained.

One of the exhibition's most striking pieces is a 3.5-meter-high golden sculpture, entitled Self-Conscious Gene, by British artist, Marc Quinn, who earlier this year had his first major exhibition in China, at Beijing's Central Academy of Fine Arts.

Quinn has exhibited at many of the world's top galleries and in 2004 became the first artist invited to fill the empty fourth statue plinth in London's Trafalgar Square, with his marble statue of artist Alison Lapper, who was born with no arms and shortened legs, posing when she was pregnant. This image was also used in the opening ceremony of the 2012 London Paralympic Games.

Self-Conscious Gene is a representation of model Rick Genest, known as Zombie Boy, who having recovered from a brain tumor, had his entire body covered with tattoos.

"After treatment, he became obsessed with his own anatomy and started tattooing it all over his body," Quinn told China Daily. "On one hand, he's a new urban person people can connect with, but he also connects with anatomy models in (the museum) so he's a bridge between what's in here and what's outside.

"In previous civilizations, people had tattoos in specific ritual settings, to show you were a member of the group, it was very anthropological. Nowadays with no overarching religion or ideology, people make their own spiritual journeys and write them on their bodies. I think that's a very interesting element of what's happening in the world today and how we relate to our bodies."

Quinn's father was a physicist and he grew up fascinated by scientific instruments, and making frequent visits to the Science Museum, which left a lasting impression.

"I love this museum, I came here as a child and I know how formative that was," he said. "I still remember images from then, so what I'm doing is creating an image which generations of school children can remember in years to come when they're older.

"When you're a child, images are so important, they make you think about the world in a different way and question things. Once you look at Zombie Boy, you'll look at the other anatomical models in a more accessible way too and won't find them so difficult."

Quinn's first show in China proved a popular success, with high attendance numbers, and he said he was keen to work in the country again.

"Hopefully that can be the first of many," he said. "I very much enjoyed it, connecting with an audience who might have heard of but not seen my work. It was great to interact with people in China because you don't need to translate art-it gives people a different way to communicate. The art scene there is very vibrant, with lots of good artists and it's a very important place, so I'd love to do more work there."

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