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
Derek Liddington: (After a conversation with a friend whom I admire but could never imitate, I came to the following conclusion: The fundamental flaw of the still life was the thought that life could be still), 2015.
12016-03-22T16:18:02-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f783111installation view Rehearsal for Objects Lie on a Table. Photo: Elle Flandersplain2016-03-22T16:18:02-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f7
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12016-02-26T21:31:40-08:00Derek Liddington: (After a conversation with a friend whom I admire but could never imitate, I came to the following conclusion: The fundamental flaw of the still life was the thought that life could be still), 2015.7plain2016-03-22T16:19:00-07:00Derek Liddington (with Ulysses Castellanos) The fruit of our joint labour was, in the end, fruit (After a conversation with a friend whom I admire but could never imitate, I came to the following conclusion: The fundamental flaw of the still life was the thought that life could be still), 2015. Unfired Clay. Courtesy of the artist and Daniel Faria Gallery, Toronto. It seems that Liddington’s experiment yielded the same conclusions that Stein’s did: “the flaw of the still life was the thought that life could be still.” In this collaboration with Toronto artist Ulysses Castellanos, Liddington proposed that they separately mould exactly the same fruit while engaging in a conversation about their lives. Despite the shared task of this experiment, the fruit they produced yielded altogether different results: Castellanos bananas are small and his grapes huge, for example. The subject of the still life, it turns out, is not the fruit.
