the curator works within his mind, curating his inner tableau into the other space. his inner sense of colors, of composi- tion, of form in space are all projected and materialized int othe other world. the delightful logos of the mind is a palette of colors, a harmonious space. this state of being and expression is similar, if not identical, to an artist. therefore, one might say, the middle man has frequently become an unnecessary piece in an already finished puzzle. at other times, the artist does not have a clue of how the work should be displayed, the artist has then been in the cave of singularity where even the tiniest speck of blue on a white background contains a universe. not favoring one over the other – tendency of merging these two identities is dawning. the choreographer has a structure of movement in his mind that has to be physically experienced and seen; a palette of bodies and motion in space. happiness comes to mind, when one sees the likeness in the different branches of expression, and the acceptance of it. We have sought to see the likeness in expression through investigating our inner worlds, our longings. to be conscious of our inner process and structures is a given right to any human being, as should expressing it also be. our inner domes are what we have left when all else fails, this inner frightening darkness that is within our selves. it is from out of this space that all artworks stem. a no place. our memories, inner images are our palettes that create who we are, who we should not be, or who we could have been. But in the mind, one can be anything, any of these.
it is in our minds that reality is reflected individually and altered through our cognitive mechanism. one incident can be told differently, depending on the viewpoint of the person. the exercise of curating (and as we have seen, other expressions) can be seen as an attempt to unite the inner and the outer world as one, where one tries to understand either of these two worlds. the final attempt might be to understand that these two worlds are one. But one has to be at the outside to look in, as when the curator is amidst the artwork, trying to find a certain language in the midst of all the colors. to be outside is to be criti- cal, to be alive, and it is in this place that one can make the most critical decisions, when one is not blinded by feelings or any other treacherous sensations. it is in this non-space, this no place that abstractions that cannot be understood are created. to surpass all forms of evaluation; good and bad, ugly or beautiful, is to create an artwork that everyone can understand, a dream that can be interpreted in all kinds of directions. it is in this no place, a non space that space is created. the poetry of the mind, that can be interpreted and understood in every person and every culture, is to captivate the audience, to make them lose their sense of evaluation.
Nikgol, Karen. “SCENOGRAPHY OF THE MIND / NoPlace.” Here To Go. Ed. Carl Abrahamsson. Edda Publishing, 2012
Karen Nikgol (b. 1983, Teheran) is a painter, choreographer and curator. He has curated and shown works at the Armory Show (NY), Bergen Kunstmuseum (Bergen), the Toilet Gallery (London), Kristiansand Kunsthall (Kristiansand), and Space 4235 (Genova). Most recently, Nikgol has staged his own operetta, “The Silent Song of the Sphinx” at Black Box Theatre (Oslo) and is involved in NoPlace (Oslo)