Confessions of the Beautiful Mind and the Echoes Forgotten Tomorrows

Mirza Cizmic

Artemin Gallery

Artemin Gallery presents Finnish artist Mirza Cizmic’s second solo exhibition in Taiwan, Confessions of the Beautiful Mind and the Echoes Forgotten Tomorrows, from October 18 to November 22, 2025, featuring 14 brand-new works.
The exhibition window showcases his largest painting, Alibi. On the left, a calm man wearing sunglasses evokes a gangster figure; next to him, a second figure hides his face, unwilling or unable to meet the viewer’s gaze; the third man exudes composure tinged with tension; and on the far right, a figure of ambiguous gender opens the mouth in shock. A gun-wielding deer head hangs centrally above, imposing yet dangerous. The composition is rich with action and emotion, both vivid and subtly humorous.
The exhibition unfolds like a book, beginning with Alibi as its “cover.” Each chapter stages absurd scenarios that challenge authority, blur gender boundaries, and question the distinctions between humans, objects, and animals.

Cizmic’s Metamorphosis series, in which masculinity is turned into humor, exemplifies the man’s ongoing engagement with gender and power. Subtly yet powerfully, Cizmic revisits the same themes while further asking whether religion should evolve—whether it requires a new interpretation for the present era. Unwritten Confessions shows a priest’s room hanging a portrait by Finnish artist Tom of Finland (Touko Laaksonen, 1920–1991), renowned for his homoerotic art. The painting evokes the unspoken desires and repression of the 1950s to 1970s. On the surface, the room appears calm, almost ascetic, yet it is the Tom of Finland portrait that functions as a silent confession: the cross represents religious restraint, while the artwork embodies secular desire, both elevated to the status of veneration. This tension finds an echo in A Garden of Unfinished Songs, where a boy lounges on a hammock reading Playboy. In contrast to the restrained atmosphere of the priest’s room, the boy openly expresses desire in an unrestricted space. The two paintings engage in a subtle dialogue, juxtaposing repression and release, sacred and profane, and private versus public expressions of longing.

In contemporary society, perhaps heroes are no longer necessary? We are educated, empowered, and capable of shaping society and enacting change. Tina Turner’s 1985 song We Don’t Need Another Hero captures humanity’s longing for hope after conflict and disillusionment with saviors. Cizmic’s painting of the same name resonates with this idea, highlighting the return to human desire and joy in the present moment.

Born in 1985 and having experienced war in his childhood, Cizmic’s paintings often evoke the modern history of Eastern Europe and the Balkans from the 1950s to the 1980s, through repeating patterns in textiles and wallpaper, as well as the colors of furniture, all of which appear distinctly vintage and imbued with a strong sense of nostalgia. Fortunately, he never feels compelled to adopt a victim’s stance. He neither critiques society grandiosely nor moralizes; instead, he wraps contradictions in humor, ambiguity, and tenderness. Absurdity in his work is never harsh; rather, it carries warmth, intimacy, and a sense of leisure, whether depicting family, friends, or camaraderie.
The tension between calm and chaos recurs in his practice: a reinterpretation of Snow White (Mirror, mirror on the wall, who is the fairest of them all), a disciplinary scene against a Rothko-like background (The Last Stand, To N.D., with love), or Puppy Dreams, where muted tones depict a baby and a dog, contrasted with a vividly colored, roughly painted Scream by Edvard Munch on a table. Across his oeuvre, Cizmic orchestrates moments that pierce quiet with a single, electric gesture.

Cizmic often explores social and everyday themes, filling his compositions with numerous figures. He excels in the wet-on-wet technique, allowing colors to flow and blend with remarkable fluidity. Strategic areas of unpainted canvas highlight his mastery and confidence, while his nuanced handling of light, shadow, and texture gives a sense of depth and translucency. Frequent depictions of skin and nudity further emphasize the materiality of his work. The tension between his classical technique and the unrestrained imagination and provocative energy of his subjects makes his paintings feel simultaneously grounded, sophisticated, and stylish.
The exhibition Confessions of the Beautiful Mind and the Echoes Forgotten Tomorrows offers no final chapter, no conclusion. Its each section is open, inviting viewers to interpret, imagine, and find their own reflections.

Confessions of the Beautiful Mind and the Echoes Forgotten Tomorrows
Mirza Cizmic

Dates: 2025.OCT.18 ⭢ 2025.NOV.22

Opening Recception: 2025.OCT.18 | 15：00

Venue: Artemin Gallery (111 1F, No. 32, Ln. 251, Jihe Rd., Shilin Dist., 111, Taipei City, Taiwan)