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
He spent four months walking in circles, looking for food until he could walk no further due to the weight of his bundle, 2015.
12016-02-27T09:54:24-08:00Derek Liddington, He spent four months walking in circles, looking for food until he could walk no further due to the weight of his bundle, 2015.5plain2016-03-22T12:45:28-07:00Derek Liddington, He spent four months walking in circles, looking for food until he could walk no further due to the weight of his bundle, 2015. Unfired clay, cotton. Courtesy of the artist and Daniel Faria Gallery, Toronto. Liddington is interested in how narrative movement can be captured by objects. This work has a story, with the traces of its narrative embodied in its form. Liddington left these “fruits” out in his parent’s backyard and let the elements (rain, temperature changes, etc.) finish his work. Recently presented on a plinth in another exhibition, here the bundle sits on the floor, the shroud of cloth taking the shape of the fruit inside. The support (or the cloth) is now the work.
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