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
12016-02-21T18:14:36-08:00And afterwards. Now that is all. (Stein, Composition, 6)4essay conclusionplain2016-03-23T04:30:58-07:00Taken as a whole this exhibition is a record of an experience in arranging. It requires our movement as contributors to its gradual materialization. We move with and are moved by its shifting compositional arrangement, and we are, in fact, part of the composition by coming and going, entering and leaving the gallery that frames it. And the arrangement changes without us, too. We return and things have changed, been rearranged, added to, and subtracted from: always equal to its occasion-ing. Repetition is a condition of the exhibition’s adaptable form—but always a repetition with a difference. It is in the intra-actions of objects, space, and people that this exhibition can veer off into different, unpredictable directions that we, neither curator, nor artist, nor viewer, can anticipate or know in advance: our knowing is in the arrangement. It is through this relational dynamic and the “allure” of the objects that comprise it that the final form of the exhibition—its composition—becomes a material record of its rehearsal and its explanation: a still life made in 2016, the composition for Gertrude Stein’s 1922 Objects Lie on a Table, and a new kind of arrangement for curating.