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
Diane Borsato: foreground: Arrangement, 2016; background: Tea Service (the conservators will wash the dishes), 2013
12016-03-22T11:59:15-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f783111Installation view, Rehearsal For Objects Lie on a Table. Photo: E. Chhangurplain2016-03-22T11:59:16-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f7
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12016-02-23T17:29:04-08:00Diane Borsato, Tea Service (Conservators will wash the dishes), 20167Tea Serviceplain2016-03-22T12:00:22-07:00Diane Borsato, Tea Service (Conservators will wash the dishes), 2016. New arrangement of archival ink prints (2 panels) based on museum intervention/action at the Art Gallery of Ontario (2013). Courtesy of the artist.
In 2013, as part of her residency at the Art Gallery of Ontario, Borsato hosted a tea tasting ((Bai Hao Yin Zhen white tea (China), Tung Ting oolong (Taiwan), and a dark, 2001 Lahu Wild Trees 1000 years old Pu-erh (China)) for a group of conservators, a registrar, an interpretive planner, a curator, an artist, and an art critic using early 19th century tea cups in the gallery’s collection. Her action re-animated the objects but not in a conventional, didactic, or “museological” way. Restoring the artifact back to a functioning cup prompted a perceptual rupture that changed the status of the object and permitted those closest to them—the conservators—to get more intimate with their beloved artifacts. “Objects on a Table are Hazardous.” (Objects,109) These photographs document moments of this exchange. “You can see that it is not astonishing that objects are easily recognized. They are a chair, table, tea cup…” (Objects, 108)
