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STATEMENT OF INHERENT RISK

Appreciating Art is a hazardous activity that carries significant inherent risks of personal and psychological harm or injury, including confusion.

The Artwork ‘Consent Volenti’ is an installation of a large painted landscape. By participating in the appreciation of this artwork you are considered to have agreed with this Statement of Inherent Risk, to have acknowledged that accidents and disillusionment can occur without negligence and to have accepted your personal and voluntary responsibility for the cautious conduct of exhibition-going.

This Statement of Inherent Risk is provided by the Artist as an illustration of some of the risks that are intrinsic or inherent to the appreciation of Art in an exhibition setting, under the Constitution and the Rules of this Artwork.This Statement of Inherent Risk is non-exhaustive and there will be additional risks, both foreseeable and unforeseeable that will affect the viewer. Some viewers will be totally unaffected. Individuals are obliged to consider other risks relevant to their own personal situation.

This Statement of Inherent Risk is relevant to Art appreciation by amateur and professional viewers, those of Trainee or Qualified status, operating either independently, as the passer-through, in a team or in a concurrent group of solo viewers, for recreational or exploratory purposes in accordance with the Constitution and the Rules of this Artwork.

This Statement of Inherent Risk does not exempt or exclude any member of the viewing community from any criminal liability.

This Statement of Inherent Risk was compiled by the artist and does not represent a professional Risk Assessment of all the risks associated with Art appreciation or the fictional habitat depicted in the Artwork.Such environments and the related activities that take place in such environments have real dangers and have inherent and other risks.

This Statement of Inherent Risk was constructed in consultation with the amateur cave diving association and as a waiver is a voluntary relinquishment of some known or assumed rights or privileges that you might have. Inherent Risk is the risk that an activity would pose if no controls or other mitigating factors were in place (the gross risk or risk before controls). These risks could result in injury to person or property and can even result in death.

Viewers are exposed to such listed and unlisted risks, including but not limited to human risk factors such as error in judgment or failing to meet expectations.

Inherent Risk(s):
Any obstacles, elements, actions or inactions that might affect the satisfactory completion of the activity. The Artwork has been made in line with the laws of physics and when implausible - jocular physics. Climbing or jumping the work could prove fatal, contrary to jocular physics, outlined below;

1. Any body suspended in space will remain in space until made aware of the situation.
2. Any body in motion will tend to remain in motion until solid matter intervenes suddenly.
3. Any body passing through solid matter will leave a perforation conforming to its perimeter.
4. The time required for an object to fall 20 stories is greater or equal to the time it takes for whoever knocked it off the ledge to spiral down 20 flights of stairs
5. All principles of gravity are regulated by fears enabling characters to jump up high to grab a chandelier out of fear of below or while running away from a chasing car to never touch the ground 6. As speed increases objects can be in several places at once; e.g. in a fight, a head can jump out of dusty smoke at several places simultaneously
7. Certain bodies can pass through solid walls while others cannot.
8. Explosive weapons cannot cause fatal injuries, instead turning you black and smoky
9. Gravity is transmitted by slow moving waves of large wave lengths when suspended over a large vertical drop, where feet fall first, then legs stretch, torso falls and neck stretches, head falls and tension is released, falling until striking the ground.
10. Dynamite and gun powder can be spontaneously generated.
11. Any violent rearrangement of matter is impermanent.
12. Things will assume the shape of their container.
13. Everything falls faster than an anvil.
14. For every vengeance there is an equal or opposite revengeance
15. A sharp object when poked will always propel a character into the air upwards with great/shocked velocity.
16. The laws of object permanence are nullified for characters who can materialise signs from behind their back or objects like doors from up their sleeve when and as needed.

Inherent risks are often integral or intrinsic to an activity, where without inherent risk, the activity loses its essential character. Entering into this installation does not guarantee you any of the advantages of jocular physics listed above. Entering into this installation carries the following actual and implied risks.

Large spongy constructions can fall resulting in serious harm including death. (11)
Height accompanies depth-related impairment. (9)
Materials are seductive, but secondary disappointment may occur upon up-close inspection. (7)
A surprise can become regular. (1)
The habitat may not be realised, deployed or maintained exactly as intended by the artist. (12)
The Artwork does not necessarily tell the correct time but will take yours and may leave you with impending notions of time’s relentless passing (13)
Integral to the cartoon ravine are notions of real mortality and the viewer may experience a sudden awareness - that like the horse’s suspended lunge, we submit to that eventuality with a knowing not- knowing. (1)
There are always scale discrepancies when alluding to space and time. (6)
Mitigation action(s)
Any actions or inactions that may reduce the inherent risk or may reduce any damage resulting from the occurrence of the inherent risk.
The viewer is advised
To assess the artificial hazards in the installation, including themselves. (7)
To expect to collide with objects. (3)
To beware of falling natural and unnatural objects from above and assess the floor for the possibility of other objects. (4) To beware of wet paint, touching and contamination. (11)
To look for signs of malfunction such as trembling parts. (13)
To observe rules appropriate to fake physical structures within a gallery environment. (5)
To not engage physically with the piece by climbing, jumping, poking or inhabiting. (15)
To refer to the title regularly. (1)
To replace any doubts with statements. (12)
To consider the risk and benefits of carrying too much information in the gallery. (1)
To beware that multiple questions increase the risk of failure to notice the obvious. (2)
To beware that a narrative may unexpectedly fail to lead to an expected conclusion. (7)
To appreciate the conclusion it does lead to may not be the one you expected. (8)
To assess the possibilities that other viewers in the installation, either known or unknown, may influence you. (16)
To assess the ability of a member of the public to compromise the satisfaction of your visit. (14)
To beware of difficult-to-cut preconceptions such as heavy philosophical, poetic or political lines etc. (3)
To research the ratio dimensions of the work you wish to further investigate against your own body mass index. (11)
To beware that some of the artwork may break when handled. (2)
To take remedial action where appropriate. (6)
To not view up close if you are uncertain of the risks associated with art and disillusionment. (1)
To observe correct ascent procedures if deciding to mount the artwork (4)
To avoid art when overly fatigued. (13)
That communication may fail between artist and viewer. (7)
That taking advise carries its own risk. (15)
To disregard advise where relevant. (10)

In addition to the risks associated with exhibitions, a viewer will also be exposed to the following risks associated with Art;
That the Viewer is a volunteer whose main goals are the appreciation and comprehension of contemporary art, its associated practices and the exploration of exhibitions. (1)
As a volunteer you give your consent and the artist takes no responsibility in the event that you may have come here by mistake or under external pressure. (2)
That the Artist’s Statements, Curators and Gallery Staff can assist Viewers to use well established Art appreciation techniques, so that they may better understand their experience but that satisfaction is not guaranteed. (5)

The viewer is reminded;
That the artist reserves the right to appropriate from ANY or no discipline including art, law, literature, music and film etc under certain fudgy conditions and to liberally interpret health and safety. The artist is entitled to amateur comment on ANY or a combination of MANY and to perform in ANY or none of the following capacities; philosophy, law, history, sociology, politics, carpentry, writing, etc.