Curating in the Continuous Present: A Rehearsal For Gertrude Stein's Objects Lie on a TableMain MenuA Detective Story“Objects on a table and the explanation.” (Stein, Objects, 105)The tableau has come off the wall.How to Write (in and of time)“In doing this thing, I hope to find out this question.” (Stein, How Writing is Written, 156)“Act so there is no use in a center.” (Stein, Tender Buttons, 63)“What is a relation?” (Stein, Objects, 105)“It is by no means strange to arrange.” (Stein, Stanzas in Meditation, 143)Re-Arranging Rhetoric“With which part of the arrangement are they in agreement.” (Stein, How to Write 136)What might the rehearsal of this play mean for exhibition making?path 2A Dramaturgy for Curating Processpath 2Rehearsals for Curating Reversalspath 2And afterwards. Now that is all. (Stein, Composition, 6)essay conclusionWorks Citedbibliographic informationEmelie Chhangur2d057680e6c2808d559b662d85db94eee62664f7
Aleesa Cohene, Lovey, 2016. Scent
12016-03-22T11:32:12-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f783111detail of bustplain2016-03-22T11:32:12-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f7
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12016-02-23T17:35:13-08:00Aleesa Cohene, Lovey, 20158Loveyplain2016-03-22T12:19:46-07:00Aleesa Cohene, Lovey, 2016. Scent composition with diffuser and terra cotta bust. Courtesy of the artist. Commissioned by Emelie Chhangur. Alice B. Toklas called Gertrude Stein “lovey.” Cohene offers her own portrait as a scent emanating from a slot cut out of the top of a bust, based on the portrait of Stein painted by Picasso in 1905-06. Her new scent questions the time-sense of smell. Cohene wonders, “how…the mysterious and abstract features of scent open up new possibilities for perception and awareness? … Different scents reach our nostrils at different times so we experience delays in our neuro-response.” By its very nature scent is already a composition comprised of an arrangement of oils, molecules, and chemicals. In the perfume business scent is comprised of top, middle, and bottom “notes,” and this hierarchy of notes determine the sequence in which a scent ingredient reaches one’s nose. In a rather unconventional move, Cohene has composed her scent entirely from middle tones that approximate the scent of a rose, or, better yet, a not-quite-rose since all of her scent ingredients are everything but the actual flower: the scent of dirt, of thorn, of rot, of stem, etc. “Do we suppose that a rose is a rose. Do we suppose that all she knows is that a rose is a rose is a rose is a rose.” (Objects, 110)