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
Installation View, East Gallery: foreground: Cabbages by Terrarea; left: Arrangement by Diane Borsato; background Two Views of Bananas by Derek Liddington. Photo: E. Chhangur
12016-03-22T12:13:49-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f783111showing another arrangement of the table composition and alternative framing of Liddington's workplain2016-03-22T12:13:49-07:00Emelie Chhangur2d057680e6c2808d559b662d85db94eee62664f7
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12016-02-23T17:33:02-08:00Derek Liddington, Two views of bananas in different bowls, on separate days. Two views of bananas, 201511Two views of bananasplain2016-03-22T12:15:20-07:00Derek Liddington, Two views of bananas in different bowls, on separate days. Two views of bananas, 2015. Graphite on canvas, hand painted water colour on oak. Courtesy of the artist and Daniel Faria Gallery, Toronto. Liddington works across genres to investigate Modern art discourse by re-performing its formal experiments in unconventional ways. Like Stein, Liddington interrogates the still life genre by playing around with how it is composed. Observation becomes performative action and touch becomes a representational device; and over time action records its own process of making. Here Liddington drapes bananas in two different bowls, and on two different days, and records their cubist “views” in graphite. “He said that he invents nothing and then I say do not invent a table cloth today do not let the table table that you invented stay. And he says I am very willing but I have had to invent something to fill in and I say to him you had better really have it and he says I am not able to get it…” (Objects, 108)
