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
Erika DeFrietas
12016-03-20T12:51:38-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f783111Installation View, 2016. Photo: Elle Flandersplain2016-03-20T12:51:39-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f7
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12016-02-23T17:30:56-08:00Erika DeFreitas, and now to begin as if to begin begin of beginning ..., 201613Beginning again textplain2016-03-23T04:47:37-07:00Erika DeFreitas, and now to begin as if to begin begin of beginning again and again and again (in the continuous present with Gertrude Stein), 2016. Performance composed with type writer and paper. Courtesy of the artist. DeFreitas has written a serial text to accompany the exhibition. The first four chapters interrogate passages of Stein’s play. They are: (1) Nuns, (2) Negros and Chinamen, (3)Objects in the House, and (4) Time-Sense. The fifth chapter records a conversation DeFreitas orchestrated with Gertrude Stein via a medium on February 6, 2016. Chapters 6 through 10 are written in the exhibition and act to record the changing arrangements. As Stein states in her lecture Plays, “knowledge as anyone can know is a thing to get by getting;” and here DeFreitas thinks and makes and does Stein as a way to co-learn her compositional strategies—the same way exhibition-making is a methodology through which to co-learn Stein’s play. Visitors to the exhibition were welcome to pick up any of these chapters and use the texts as alternative guides to the exhibition.