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
12016-02-23T19:28:29-08:00Weighted dancers under spotlight (I realized the most sincere means of capturing their movement was to allow the clay to bend as it had wanted to, then and always), 20169plain2016-03-22T13:26:05-07:00Derek Liddington, Weighted dancers under spotlight (I realized the most sincere means of capturing their movement was to allow the clay to bend as it had wanted to, then and always), 2016. Clay and marble. Courtesy of the artist. For this work Liddington looks to dance and the role gravity plays in conditioning movement. The composition is based on a photograph of two dancers set in a pose that requires each other’s support. In Liddington’s representation, bodies are allowed to “fall,” fold, or collapse as the clay dries over the duration of the exhibition and material performs.