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
12016-02-26T21:43:53-08:00Erika DeFreitas' Untitled Textile works9plain2016-02-27T09:25:37-08:00Erika DeFreitas, untitled (these textile works) No. 10, 2015. Found fabric and pins. Courtesy of the artist. In this series of works, DeFreitas alters a single piece of found printed textile by cutting, ripping, folding (sometimes along pre-existing creases), and rearranging this material into different configurations. She then weaves other materials such as thread, cello tape, masking tape, painter’s tape, iron-on fusing tape, straight pins, and safety pins into the arrangement. Each layer or material addition is no more important than any other: together they create a kind of landscape of relations.
Erika DeFreitas, untitled (these textile works) No. 29, 2015. Found fabric and pins. Courtesy of the artist. Stein often called her plays landscapes since she wondered what rendered some things ground to others. She was fascinated by how landscapes troubled questions of gestalt. In Portraits and Repetition, Stein says, “if it were possible that a movement were lively enough it would exist so completely that it would not be necessary to see it moving against anything to know that it is moving.” The landscape analogy provided a way in which to think about these things, in particular why dramatic action is set within a scene when the scene itself could be a subject. Here DeFreitas’ textiles works are installed over top of wallpaper that is derived from these works: character and setting become interchangeable.