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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe
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Mirak Jamal, cornered (2017) Installation view. Courtesy the artist + 427, Riga. Photo: Kristiāna Marija Sproģe

“The true and sensitive life”: Mirak Jamal’s cornered at 427

, 27 April 2017
Mirak Jamal presented solo exhibition cornered at Riga’s 427 which opened March 30 and is running to May 3.
 
The Berlin-based artist presented an installation using a number of different materials, with an unfinished DIY aesthetic. Handmade drawings and paintings on paper, tissue, and other surfaces are placed behind behind thick plastic sheets that ‘frame’ them upon a larger wooden frame that sits awkwardly in the middle of the room.
 
Like the majority of Jamal’s exhibitions, little information about the show’s premise is given. The press release only includes a quote from Wassily Kandinsky’s On The Spiritual In Art (1910) where he notes “The entire triangle moves slowly, almost invisible, forward and upward and where the apex was “today,” the second segment is going to be “tomorrow,” that is to say, that which today can be understood only by the apex, and which to the rest of the triangle seems an incom- prehensible gibberish, tomorrow forms the true and sensitive life of the second segment.”
 
 
 
 

 

Kaspars Groševs @ C.C. von Strizky’s Villa, Oct 14- 29

11 October 2016
Mirak Jamal presented solo exhibition cornered at Riga’s 427 which opened March 30 and is running to May 3.
 
The Berlin-based artist presented an installation using a number of different materials, with an unfinished DIY aesthetic. Handmade drawings and paintings on paper, tissue, and other surfaces are placed behind behind thick plastic sheets that ‘frame’ them upon a larger wooden frame that sits awkwardly in the middle of the room.
 
Like the majority of Jamal’s exhibitions, little information about the show’s premise is given. The press release only includes a quote from Wassily Kandinsky’s On The Spiritual In Art (1910) where he notes “The entire triangle moves slowly, almost invisible, forward and upward and where the apex was “today,” the second segment is going to be “tomorrow,” that is to say, that which today can be understood only by the apex, and which to the rest of the triangle seems an incom- prehensible gibberish, tomorrow forms the true and sensitive life of the second segment.”