Digital Guides Tenderness and Rage Digital Guides

Tenderness and Rage

Exhibition text

Discover our new display on HIV and AIDS that brings together Gideon Mendel’s photographs and stories from activists worldwide to explore care, stigma and the fight for treatment.

Digital Guide

The digital guide contains a highlights tour of the exhibition available with audio description (AD) and British Sign Language (BSL).

The guide has five stops, each around four minutes long, featuring the voices of artists and activists.        

AD is available on earcones next to selected objects in this display.

BSL-interpretated videos are shown on screens for selected works in this display.

AD and BSL can be accessed on your phone by scanning the QR codes.

QR codes also provide access to all exhibition texts in screen-readable formats.

You can use our WiFi for free. Turn your device’s WiFi on and select ‘Wellcome Guest’. The first time you connect, you will be asked to enter your email address. Then select ‘Connect’ to accept our terms and conditions.

Introduction

‘Tenderness and Rage’ examines interwoven stories of intimacy and protest from the height of the UK AIDS epidemic in the 1980s and 90s, to contemporary experiences of HIV in the Global South.

Featuring two photographic projects by artist Gideon Mendel from 1993 to the present day alongside other collections and archival material, this display connects acts of care with the public fight for dignity, rights and equitable access to treatment.

In ‘The Ward’ (1993), artist Gideon Mendel documents AIDS patients and medical staff at Middlesex Hospital, London. Meanwhile, ‘Through Positive Eyes’ presents the experiences of HIV-positive activists around the world, which is part of a participatory project developed with the Art & Global Health Center at the University of California, Los Angeles (UCLA).

Medical advances mean that people living with HIV today can live full lives. However, access to care remains deeply unequal across class, race, gender and geography, while stigma remains pervasive. Recent cuts to global funding have significantly impacted programmes of HIV treatment and prevention, leading to countless preventable deaths worldwide.

The voices of activists presented here remind us that progress is not guaranteed. They invite us to celebrate and learn from the successes of past movements, while facing the challenges of the present.

This display presents lived experiences of HIV.

Some of the work on display references illness, death and bereavement, stigma, racism, homophobia and discrimination. There is also material with human tissue and a depiction of surgery.

If you would like further information, please speak to a member of staff.

ACTION = LIFE

The London chapter of the activist group AIDS Coalition to Unleash Power (ACT UP) formed in 1989 amid rising deaths from AIDS-related illness and government inaction in the UK. ACT UP London campaigned around three UK-specific demands:

• “An end to discrimination in prisons, housing, employment, insurance, immigration and healthcare.”

• “Public education to counter the ignorance, fear and lies about AIDS.”

• “Care, dignity and human rights for people living with AIDS… and HIV.”

The group employed an ‘inside/outside’ strategy in their advocacy. Through direct action, they mobilised public awareness and shone a spotlight on institutional failings. Gordon Rainsford captured many of these protests in his photography. Known as ‘zaps’, these actions often had a theatrical twist. Whether floating condoms over the walls of Pentonville Prison, or mass ‘die-in’ vigils and marches, they were intended to attract attention.

Less visible, but just as important, was the work ACT UP members did behind the scenes to influence organisations and change policy.

ACT UP London Protests

“Since we reformed in 2014, ACT UP London continues to be united in anger and committed to strategic, joyful direct action to end the HIV pandemic and the wider inequalities that sustain it. Our lineage stretches back from the pink triangles of the camps, through AIDS-era government neglect and Section 28 silence to today’s attacks on trans lives and millions facing death from HIV funding cuts. Silence = Death was never just a slogan – it’s a collective survival strategy.

“We continue to practise die-ins today because memory is a muscle. Movements eat themselves when they forget, and Britain is particularly skilled at erasing histories of resistance.

“Grief is not polite; it’s powerful. Let it out and it becomes alchemy. Die-ins drag history into the street, turning memory and mourning into action, refusing cultural amnesia and institutional bigotry. Until healthcare is universal and war budgets are cancelled, silence is not an option.”

– Dan Glass, ACT UP London activist and author

1. Jimmy Somerville at Pentonville Prison, 3 February 1989

Gordon Rainsford

1989, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/3/3

2. World AIDS Day Protest, 1 December 1989

Gordon Rainsford

1989, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/3/44

3. Protesters chain themselves to Westminster Bridge on World AIDS Day, 1 December 1989

Gordon Rainsford

1989, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/3/41

4. World AIDS Day March against state changes to Invalidity Benefit in Kennington, 1 December 1993

Gordon Rainsford

1993, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/7/48

Die-ins

5. ACT UP 10 Years of AIDS Die-In in Trafalgar Square, 1 June 1991

Gordon Rainsford

1991, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/7/30

6. UK AIDS Coalition Die-In in Trafalgar Square, 28 August 1993

Gordon Rainsford

1993, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/7/30

07. ACT UP World AIDS Day Vigil in Trafalgar Square, 1 December 2025

Ben Gilbert

2025, United Kingdom

Colour photograph, giclée print

Benjamin Gilbert / Wellcome Collection

ACT UP, AZT, Wellcome

In 1987, pharmaceutical company Wellcome plc produced AZT (azidothymidine) under the brand name Retrovir. It was one of the first drugs approved to treat HIV and, for several years, it offered the only potential lifeline for many people diagnosed with the disease.

However, its high cost, limited availability and the research approach taken in testing the drug drew strong criticism. Activist groups, such as ACT UP, challenged Wellcome’s policies, arguing that profit was being prioritised over the lives of patients. In January 1989, members of ACT UP from London and Edinburgh organised the first protest against Wellcome at the company’s annual shareholders’ meeting.

“ACT UP London’s first protest was at the Wellcome plc’s annual general meeting in January 1989. I purchased shares to be able to go inside.

“The night before we spray painted ‘silence = death’ on the pavement outside the venue. Our picket line confronted the stern-faced shareholders, their profits coming from the high price of Wellcome’s AIDS drug AZT.

“Inside, it was like a trial. I acted as a prosecutor questioning the board. I used my best schoolmistress voice to scold Sir Alfred, the Chairman and Chief Executive, questioning his pricing policy and attitude to people with AIDS.

“Later ACT UP unveiled a ‘Sell Wellcome’ banner within the trading floor of the New York Stock Exchange. British ACT UP groups concentrated on shareholder meetings. Under pressure, Wellcome changed its attitude and lowered the price of AZT.

“ACT UP spread to Paris in May, Edinburgh in October, and the following year over much of Europe.”

– Rob Archer, author and co-founder of London and Edinburgh ACT UPs

1. ACT UP Picket at Wellcome plc Annual General Meeting, 20 January 1989

Gordon Rainsford

1989, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/3/2

2. ACT UP Picket at Wellcome plc Annual General Meeting, 15 January 1991

Gordon Rainsford

1991, United Kingdom

Black-and-white photograph, giclée print

Gordon Rainsford Archive, Bishopsgate Institute, Rainsford/1/1/5/1

3. Retrovir (AZT) packaging

Wellcome plc

1991, United Kingdom

Printed cardboard

Wellcome Collection, WF/M/I/BP/94

4. AZT on trial

SCAM

1993, United Kingdom

Monochrome printed flyer

Wellcome Collection, EPH520:38

5. Interior of Wellcome plc Annual General Meeting

Wellcome plc

1989, United Kingdom

Colour photograph

Wellcome Collection, WF/M/I/PR/A01

6. ‘Wellcome faces critics’, 19 January 1990

‘Capital Gay’ newspaper, photography by Gordon Rainsford

1990, United Kingdom

Newspaper cutting

Bishopsgate Institute, ACTUP/1

What’s the difference between Wellcome plc, Wellcome Trust and Wellcome Collection?

In this display there are references to several different companies with Wellcome in their name.  

Burroughs Wellcome & Company was a pharmaceutical company founded in 1880 by Henry Wellcome and Silas Burroughs. It was later renamed Wellcome Foundation Ltd and then Wellcome plc. Wellcome plc manufactured AZT under the name Retrovir.

Wellcome Trust was a charity established in 1936. It used profits from Wellcome Foundation/plc, including from sales of AZT, to fund health-related research and support for the history of medicine.

From the late 1980s, Wellcome Trust became increasingly independent of the pharmaceutical business. In 1995 Wellcome Trust sold its remaining shares in Wellcome plc.

Wellcome Collection opened in 2007. It is part of Wellcome Trust, which is now known as Wellcome. Wellcome Collection holds a large part of the corporate archives of both Wellcome Foundation and Wellcome Trust.

The Ward

Taken in 1993, these images by artist Gideon Mendel document the experiences of patients on the UK’s first dedicated AIDS wards, the Broderip and Charles Bell wards at Middlesex Hospital. Following four men with HIV, John, Ian, André and Steven, ‘The Ward’ captures moments of intimacy between patients, their loved ones and hospital staff.

These wards pioneered new models of care that put the wishes and wellbeing of HIV-positive patients at its heart. ‘Patient-activists’ took an active role in their own care, working directly with doctors, nurses and other staff to advocate for dignity and agency in their treatment. Staff responded to patients’ personal and social needs as well as their medical care, aiming to create a warm, homely atmosphere.

As the photographs were created before effective antiretroviral treatments for HIV were available, John, Ian, André and Steven all died soon after they were taken.

Ian lies in a hospital bed with his mother by his side

Gideon Mendel

1993, United Kingdom

Black-and-white photograph, silver bromide print

Wellcome Collection, 3314981i

John lying on a hospital bed, chatting

Gideon Mendel

1993, United Kingdom

Black-and-white photograph,  silver bromide print

Wellcome Collection, 3314980i

“I remember standing in front of this photograph with my sister the first time it was shown in 1993. She was shocked to see two men together on a bed in a hospital ward. I was beaming, proud to be leading a team who celebrated this relaxed intimacy between John and his partner. Working in partnership with patients and the significant people in their lives enabled them to be themselves. Their closeness radiates warmth.

“When Gideon first approached me to photograph patients, my initial answer was no. We promised to maintain their confidentiality. I feared breaking this would invite unwelcome attention and put people at risk.

“I was persuaded by the courage and determination of John, André, Ian and Steven to take part, without them we would not have such an important legacy.”

– Jane Bruton, former ward sister on the Broderip and Charles Bell wards at Middlesex Hospital

André makes a phone call from the visitors’ room

Gideon Mendel

1993, United Kingdom

Black-and-white photograph, silver bromide print

Wellcome Collection, 3314967i

The Landmark

During the height of the AIDS epidemic in the UK, people living with HIV faced extreme secrecy, stigma and hostile media coverage. Purpose-built charitable and volunteer-led care centres responded by providing vital services and spaces of safety.

Opened in 1989, The Landmark Centre in south London took a holistic approach to its services. It provided both practical and emotional support to service users, including therapies, meals, haircuts and peer support. In addition to support for gay men, the centre ran targeted groups for women and Black communities.

The Landmark closed in 2002 as funding for HIV services was cut and the development of effective antiretroviral treatments allowed people to live longer and healthier lives. The centre’s legacy is captured through voices and reflections of surviving service users, volunteers and workers in ‘Dancing Whilst Diagnosed’, a film created in 2025 with the LGBTIQ+ charity Lambeth Links and filmmaker David Mark Graham.

The Landmark: A Centre for People affected by HIV/AIDS

London Landmark, designed by Murray Green Art & Design

1990s, United Kingdom

Colour lithograph

Wellcome Collection, 666608i

Dancing Whilst Diagnosed

Lambeth Links, directed and edited by David Mark Graham

2025, United Kingdom

Film, 15 minutes, edited from original film, 24 minutes

Courtesy of Lambeth Links, supported by Untold Stories, part of the Mayor of London’s Commission on Diversity in the Public Realm

Memory Store

1. Memory Store box

Angelina Namiba

1995–2003, United Kingdom

Printed cardboard, plastic

Courtesy of Angelina Namiba

“I was first diagnosed with HIV in 1992. At the time when we didn’t have medication to treat HIV and were often given only six months to live. Women living with HIV were encouraged to create memories for our children in these boxes, as something they would have to remember us by after we were gone. 

“Over time, the Memory Box became a visual journal. I am so glad that I created these memories and kept the box intact. It means so much to my daughter. It’s important to have these stories about what HIV was like in the early days, so we not only hold on to our history but also celebrate the incredible progress made in HIV.”

– Angelina Namiba, Founder of 4M Network of Mentor Mothers

2. My daughter’s framed handprint

Angelina Namiba

1995–2003, United Kingdom

Paint, paper, wooden frame, glass

Courtesy of Angelina Namiba

3. Picture album with photos of my daughter's birth by c-section

Angelina Namiba

1995–2003, United Kingdom

Printed paper, plastic, photograph, umbilical cord

Courtesy of Angelina Namiba

Content note: Contains a human umbilical cord and a depiction of a surgery.

4. My daughter’s first swimsuit and dress

Angelina Namiba

1995–2003, United Kingdom

Textile and synthetic fabric

Courtesy of Angelina Namiba

5. My daughter’s first trainers and ballet shoes

Angelina Namiba

1995–2003, United Kingdom

Leather, plastic

Courtesy of Angelina Namiba

6. Letters and a poster

Angelina Namiba

1995–2003, United Kingdom

Paper

Courtesy of Angelina Namiba

7. Positively Women newsletters with my ‘Pregnancy Journey’ diary

Angelina Namiba

1995–2003, United Kingdom

Printed paper

Courtesy of Angelina Namiba

Through Positive Eyes

‘Through Positive Eyes’ is a collaborative photo-storytelling project by over 200 activists from around the world. Created through a series of workshops with Gideon Mendel and the Art & Global Health Center at UCLA, the participants document their own experiences of living with HIV through photography and narrative.

Five stories from the project are presented here, with updated reflections from contributors Phindile, Emmanuel, Gogo, Virginia and Mariia. Though separated by time, location, language and subject matter, their works reflect resilience in the face of discrimination and stigma, the importance of human intimacy and community to overcome isolation, and the vital role of activism and creativity in advocating for HIV care.

Many of them also highlight the urgency of continued funding and action for HIV prevention and treatment in the context of global instability and cuts to international aid.

Phindile, Johannesburg

Phindile

2010, South Africa

Colour photographs, giclée print

Phindile/Through Positive Eyes, a project of Gideon Mendel and the Art & Global Health Center at UCLA

“Activism is running in my bloodstream. I was once a member of the Treatment Action Campaign and I’m still advocating for the voiceless when it comes to HIV.

“I got employed as an HIV counsellor in 2019, working in the field that I was passionate about. That came to an end in January 2025, after US President Donald Trump decided to stop USAID funding and I lost my job. This led to stress and feeling depressed, as the breadwinner in the family, but I'm soldiering on.

“I never stopped taking care of myself in order to see my daughter, Owami, graduating from university. I was already living with HIV before she was born, and I'm happy that I protected her by using medication then, so she was born HIV negative.

“Reflecting on these images now, I still believe in love and intimacy. I deserve to be loved unconditionally and taken care of, irrespective of my HIV status.”

– Phindile, 2026

Emmanuel, Port-au-Prince

Emmanuel, film directed by Gideon Mendel, produced by David Gere, and edited by Mo Stoebe

2014, Haiti

Colour photograph, giclée print

Film, 4 minutes

Emmanuel/Through Positive Eyes, a project of Gideon Mendel and the Art & Global Health Center at UCLA

FR

“En tant que personne vivant avec le VIH depuis 2008, j’ai été l’une des premières personnes en Haïti à témoigner publiquement pour aider les autres à mieux comprendre la vie d’une personne séropositive. Pour nous, un diagnostic positif n’est pas une fin en soi, mais plutôt le début d’une nouvelle façon de vivre.

“Je dirige une organisation qui travaille avec des groupes vulnérables, notamment les personnes vivant avec le VIH/Sida et les travailleurs et travailleuses du sexe. Ensemble, nous essayons de lutter pour une société juste, honnête et inclusive, et de défendre les droits humains.

“En Haïti, la vie n’est pas facile pour une personne vivant avec le VIH. Grâce au soutien d’organisations internationales, nous avons pu apporter un certain soulagement, mais aujourd’hui 80 per cent de ces financements ont pris fin. Nous faisons tous face à des difficultés, même pour accéder aux traitements antirétroviraux (ARV). Malheureusement, c’est seulement maintenant que je commence à subir de fortes discriminations et stigmatisations.”

– Emmanuel, 2026

ENG

“As a person living with HIV since 2008, I was one of the first people in Haiti to give public testimony to help others better understand the life of someone living with HIV. For us, a positive diagnosis is not an end in itself, but rather the beginning of a new way of living. 

“I run an organisation that works with vulnerable groups, especially people living with HIV/AIDS, and sex workers. Together we try to fight for a just, honest and inclusive society and advocate for human rights.

“In Haiti, life is not easy for someone living with HIV. With support from international organisations, we were able to provide some relief, but now 80 per cent of that funding has ended. We are all facing difficulties, even in accessing antiretroviral treatment (ARVs). Sadly, it is only now that I am starting to experience strong discrimination and stigma.”

– Emmanuel, 2026

Silungile (Gogo), Durban

Silungile

2016, South Africa

Colour photographs, giclée-print

Silungile/Through Positive Eyes, a project of Gideon Mendel and the Art & Global Health Center at UCLA

ZU

“NginguMelaphi wendabuko, kanye nomgqugquzeli wamalungelo abantu kanye nesifo se-HIV. Iqiniso lithi lapho abantu emphakathini wethu begula, abayi kuphela emtholampilo waseNtshonalanga. Baya KuMelaphi Wendabuko Okhona Endaweni Abahlala Kuyona, ukuze bathole iseluleko . Uma bonke Abelaphi BeNdabuko  beqonda kahle nge-HIV nezinye izifo, kuba lula emphakathini ukwenza izinqumo ezifanele nokuvikela ukusabalalisa i-HIV.

“Ngemuva kwephrojekthi i-Through Positive Eyes, Sengiqeqeshe Abelaphi BeNdabuko abaningi Ukuze Bakwazi  Ukweluleka Abantu nge-HIV. Owesifazane onami ezithombeni eceleni KoLwandle WayewuMakhosi  Engangimusiza Ukuxhumana Kahle NeDlozi Lakhe.Saya olwandle ukukhuluma nokhokho bethu ukuze samukelane nokuncenga nokubuza isiqondiso. Singabantu njengawo wonke umuntu, futhi ukuze sixhumane kahle neDlozi, kuyadingeka ngezinye izikhathi sivakashele okhokho bethu, lapho bephila khona, lapho behlala khona.

“Ngifuna ukutshela umhlaba wonke ukuthi thina njengaBelaphi  Bendabuko, nathi siyafundisa nge-HIV. Yebo, senza izinto ngendlela yendabuko, kodwa nathi Siyabaqwashisa Abantu NgeHIV.”

– Silungile, 2026

ENG

“I am a practising traditional healer, as well as an HIV, gender-based violence and human rights activist. The reality is that when people in our communities get sick, they don’t just go to a Western health facility. They go to the local spiritual healer for consultation and advice. If all healers are well informed about HIV and other diseases, it becomes easier for communities to make good decisions and prevent HIV.

“After the ‘Through Positive Eyes’ project, I have trained a number of healers to provide HIV counselling. The woman photographed with me by the ocean was one of my first trainees. We went to the ocean to speak with our ancestors to receive cleansing and ask for guidance. We are human beings like anyone, and for us to be well connected, we need to sometimes visit our ancestors where they have passed on, where they reside.

“I want to tell the world that, as traditional healers, we also raise awareness about HIV. Yes, we do things the traditional way, but we also make sure our clients have the correct information.”

– Silungile, 2026

Virginia, London

Virginia

2015, United Kingdom

Colour photographs, giclée print

Virginia/Through Positive Eyes, a project of Gideon Mendel and the Art & Global Health Center at UCLA

ES

“Cuando me mudé al Reino Unido desde Argentina en  2004, me involucré con la comunidad del VIH a través de mi activismo medioambiental. Participé en Through Positive Eyes en 2014, y ahora doy clases de jardinería para mejorar el bienestar de personas que viven con  VIH en Londres.

“Recibir un diagnóstico de VIH positivo puede hacerte sentir profundamente solo y hacerte perder la confianza en ti mismo. A menudo pensamos en el estigma como algo que viene del mundo exterior, pero el autoestigma puede ser igual de aislante y dañino para nuestra salud mental.

“La jardinería te ayuda a reconectarte con otros seres vivos, a darte cuenta de que no estás solo. Si eres capaz de disfrutar de una flor, de observar pájaros e insectos, puede que empieces a sentirte mejor. Cultivar plantas a partir de bulbos, semillas y esquejes te da esperanza. Las palabras ‘cultura’ y ‘cultivar’ comparten una raíz común. Si aprendes a cultivar, aprendes a cuidarte a ti mismo y o ser empatico. Compartimos diferentes culturas que enriquecen nuestras vidas.”

– Virginia 2026

ENG

“When I moved to the UK from Argentina in 2004, I engaged with the HIV community through my environmental activism. I run classes to help people living with HIV in London take better care of themselves through gardening.

“Receiving an HIV-positive diagnosis can feel deeply lonely and reduce your self-confidence. We often think about stigma as something that comes from the outside world, but self-stigma can be just as isolating and damaging to mental health.

“Gardening helps you to reconnect with other living creatures, to realise that you are not alone. If you are able to enjoy a flower, look at birds and insects, you may start feeling better. Growing plants from bulbs, seeds, cuttings gives you hope. The words ‘culture’ and ‘cultivate’ share a common root. If you learn to cultivate, you learn to look after yourself and others. We share different cultures that enrich our lives.”

– Virginia, 2026

Mariia, Ukraine

Mariia

2024, Germany

Colour photographs, giclée-print

Mariia/Through Positive Eyes, a project of Gideon Mendel and the Art & Global Health Center at UCLA

UK

“Я живу з ВІЛ від народження. Інші люди дізнаються про свій статус уже в дорослому віці й переживають шок від цієї новини, а в мене ніколи не було «до» і «після» – ВІЛ був зі мною завжди. Хоча світ часто здавався холодним і недружнім, поруч завжди була підтримка – моя мама, соціальні працівники, діти з подібним досвідом.

“Розбитий посуд нагадує мені про важкі часи війни. Коли почалися обстріли, багато лікарень і аптек було зруйновано, і доступ до ліків для людей, які живуть з ВІЛ, став надзвичайно складним. Ми збирали залишки препаратів, мов уламки порцеляни, зберігаючи кожну пігулку, яку могли знайти. Війна розкидала нас по різних містах і країнах, але ми підтримували одне одного й ділилися тим, що мали.

“Сьогодні я підтримую жінок, які живуть з ВІЛ: організовую зустрічі, проводжу арттерапію, ділюся досвідом. Разом ми додаємо нові барви до життя та знаходимо надію.”

– Марія, 2026

ENG

“I have lived with HIV since birth. Other people find out about their status as adults and are shocked by this news, but I never had a ‘before’ and ‘after’ – HIV has been with me always. Although the world often seemed cold and unfriendly to me, there was always support nearby – my mother, social workers, children with similar experiences.

“The broken dishes remind me of the difficult times of the war. When the shelling began, many hospitals and pharmacies were destroyed, and access to medicines for people with HIV became extremely difficult. We collected the remnants of drugs like shards of porcelain, saving every pill we could find. The war scattered us to different cities and countries, but we supported each other and shared what we had.

“Today I support women living with HIV: I organise meetings, conduct art therapy, share experiences. Together we add new colours to life and find hope.”

– Mariia, 2026

Catwalk4Power

Catwalk4Power is a collective of women living with HIV using creativity and the power of community to raise awareness, build confidence and advocate for better treatment.

The initiative predominantly features the voices of women from global majority and migrant backgrounds. The lack of available information and the impact of ‘hostile environment’ immigration policies create greater barriers for these groups in accessing prevention, treatment and support, increasing the risk of late diagnosis and damage to health. Research published in 2021 also indicated that migrants accounted for 62 per cent of new HIV diagnoses in the UK.

Through creative workshops, performances and peer support, Catwalk4Power invites us to celebrate the stories of migrant women and recognise their role and contributions towards tackling HIV in the UK and globally.

“I have been part of Catwalk4Power as a creative facilitator, performer and community advocate, supporting spaces where women living with HIV can express themselves, build confidence and reclaim visibility.

“The objects in this display were created through Powerful Bodies workshops, where women stitched fabric body parts in a supportive, body-positive space shaped by conversation, care and choice. The stitched breast reflects experiences of HIV, treatment, intimacy and healing, and represents an act of reclaiming the body with dignity and tenderness. The Power Bags symbolise protection, resilience and freedom, holding personal stories alongside collective strength. What matters most to me about this project is empowerment and belonging – creating spaces where women are seen on their own terms and healing happens together.”

– Suzyo Charity Nyirenda, writer, mentor and activist 

Strutting to stop stigma

Mel Rattue, commissioned by Visual Aids

2020, United Kingdom

Colour-printed comic

Courtesy of Mel Rattue, Wellcome Collection, P13974

Feel free to pick up and handle this comic. Please return once you are finished.

Female body parts from ‘Our Powerful Bodies’ workshop: breasts, vagina and lips

Catwalk4Power, Positively UK

2018, United Kingdom

Felt, stitching, fabric, sequins

Courtesy of Positively UK, Bishopsgate Institute, C4P/7

Power Bag: Silvia Petretti

Silvia Petretti, Positively UK, created as part of ‘Rebel By Default’

2019, United Kingdom

Plastic, cotton embroidery, rose thorns, printed image, minature vibrator, Polaroid photograph, ground leaves of fig, olive and almond trees

Courtesy of Positively UK

Power Bag: Charity Nyirenda

Charity Nyirenda, Positively UK, created as part of ‘Rebel By Default’

2019, United Kingdom

Plastic, cotton embroidery, Polaroid photograph, plastic orchid, miniature books, printed badge, paper, miniature gag and sex toy

Courtesy of Positively UK

Catwalk4Power placard – ‘As A Black African Immigrant Woman I Say Involve Me In All HIV Decisions On My Treatment’

Catwalk4Power, Positively UK

2018

Acrylic paint, paper, wooden stick

Courtesy of Positively UK, Bishopsgate Institute, C4P/1

Africa Health Research Institute

What does it mean for researchers and clinicians to work hand in hand with communities and activists in combating HIV in a way that is mutually beneficial?

Africa Health Research Institute (AHRI) is a scientific research institute and research partner of Wellcome Trust, based in the province of KwaZulu-Natal, South Africa.

Their work aims to solve some of the most complex health issues facing under-resourced communities in South Africa and globally. This includes HIV, tuberculosis, adolescent mental health, and climate and health. To tackle these intersecting problems, AHRI brings together researchers from different scientific disciplines and works in close partnership with community members to develop holistic health interventions.

Since 2000, AHRI has run a Health and Demographic Surveillance System (HDSS), a long-term project tracking HIV and health over 845km² in the rural uMkhanyakude district. Historically, research and health interventions have often been delivered in a top-down manner. Central to AHRI’s work is a community-led approach, working closely with local people, community leaders and activists to conduct research and develop health interventions.

Make a placard

Around the world, placards are often used by protesters and activists to communicate their messages and demands. The most effective tend to be clear, punchy and engaging.

There is a template to help you make your own placard. You can find these on the table with stencils and pencils to get you started.

There are pens, scissors, glue and magazine cuttings available on request; please ask a member of staff.

There are also reflection cards with questions you can respond to.

Feel free to keep your card or placard with you, or share your reflections with others here.

Acknowledgements

We would like to thank the activists, artists, contributors and colleagues who have generously shared their work, expertise and ideas for this exhibition.

Special thanks to artist Gideon Mendel and the Art & Global Health Center at UCLA for their support. We would also like to thank Dan Glass for providing research and curatorial support towards the realisation of this exhibition.

Audiovisual

Lewis Sellars

Jakub Wolowiec

Build

TMP

BSL Editor

Samuel Dore

BSL Presenter and Monitor

Ahmed Mudawi

Alexandra Shaw

Conservator

Kath Knowles

Design

Martin McGrath Studio

Digital Guide Producer

Isabelle Gapomo

Engagement Producer

Nan Dorrego Carreira

Rosanna Watts

Exhibition technicians

Lawrence Corby

Charles Froud

HIV sensitivity consultants

Angelina Namiba

Charity Nyirenda

Gallery Manager

Christian Kingham

Photography production

Ben Gilbert

Production Assistant

Aleksandra Lewczuk

Project Manager

Amy Higgitt

Annie Rolington

Registrar

Rowan De Saulles

Title quilter

Karina Thompson

Curator

Adam Rose

Glossary of terms

HIV (human immunodeficiency virus): A virus that attacks the body’s immune system, transmitted through specific bodily fluids, including semen, blood and breast milk. HIV targets the body’s white blood cells, weakening the immune system. HIV can be managed using medication.

AIDS (acquired immune deficiency syndrome): A medical condition that can happen to people who have HIV for a long time without treatment. This weakens the immune system and makes it easier to get sick with ‘opportunistic diseases’ like tuberculosis, infections and some cancers.

Undetectable = Untransmittible (U = U): If you take HIV medicine every day, the amount of virus in your body can become so low that tests cannot find it. This is called having an undetectable viral load. When this happens, you cannot pass HIV to your sexual partners.

Antiretroviral therapy (ART): A combination therapy of medicines used to treat HIV. It uses a combination of different drugs (often in one pill) to stop HIV from reproducing, lowering the ‘viral load’ (amount of virus) in the body. With daily treatment, most people with HIV can live a long and healthy life.

Stigma: HIV-related stigma is the social rejection and prejudice against people living with HIV. It is often driven by fear of transmission, moral judgements and misconceptions. Stigma prevents people from testing for HIV, sharing their HIV status or talking about HIV. This often leads to discrimination, isolation and poor health outcomes.