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. Photo: E. Chhangur
12016-02-21T17:25:25-08:00“Act so there is no use in a center.” (Stein, Tender Buttons, 63)2plain2016-03-22T15:44:22-07:00 So what does this arrangement look like? Looking is one way of understanding composition, just as rhythm is a possible entry into time. Both are integral to the still life genre, especially Stein’s still life genre (time is an integral aspect of drama). To include what is seen as well as what is said and heard especially without memory, especially without the memory of curating and the memory in curating. This is an exhibition that is curatorial-ly compositional: change the verb to an adverb and see what there is to see. So we shall see.