DIY Exhibition responds to Intersections by providing a model of the works presented for the exhibition reduced in scale to 1:10 and opened out flat as in a plan. Visitors are provided with masking tape and a blank wall to experiment with intersecting with the exhibition by making a model of their own exhibition.
The framework for Intersections is outlined by the curator, Adrian Clement, as:
List of Artists:
Alex Wisser, Boni Cairncross, Fernando Navarra, Francesca Mataraga, Georgie Pollard, Goran Tomic, Hayley Hill, James Gatt, Joe Gilmore, Kate Mackay, Kurt Sorensen, Lauren McCartney, Lleah Smith, Margaret Roberts, Marlene Sarroff, Melanie Khava, Tom Isaacs.
What measures are taken by curators to erect barriers between individual works so that an audience can have the opportunity to experience works on their own without the interference of other works? And what conditions need to be arranged so that works can be experienced the way artists have originally intended?
What happens to the experience of a work when we let our guard down, and forget about a particular barrier or requirement? For example, say we install a sound work in a gallery on speakers instead of headphones, and despite our best efforts, we can hear the sound throughout the whole show. Every time someone looks at a painting, they are also listening to the sound work. How does this affect the way we respond to both works? The experience of more than one work at the same time can be defined as an "intersection".
Intersections , curated by Adrian Clement, involves firstly, the curator installing individual works, creating many different points and levels of "intersections" in the process. Subsequently, site-specific artists install works to respond to and "intersect" the way in which the show has been installed via the curator's vision.
The premise of the exhibition is a hypothesis. The installation process an experiment. And the result is INTERSECTIONS.