The Netherlands Mirso Bajramovic    



Acrylic on canvas

3.anne frank house
4.valkhof (outside)
5.valkhof (inside)
Acrylic on canvas









An art, it might be claimed with slight exaggeration, which is the especial reserve of artists deriving from regions east of us. That’s where they know best how to paint such sacred nocturnes, how to perform the astral liturgy. Mirso Bajramovic too is one who paints `Hymns to Night`. He too follows Jean Cocteau’s poetical direction of `carrying night through day`, extending the possible world of the dream into the profane world of up-to-datedness. But he is not just a painter of nocturnes and `Night thoughts`. He is also a commonsensical man with a Western inquisitiveness about the system, the anatomy of romantic imagery. I say: part of his art is about art and even that Art creates art. This did not make him a post-modernist. To him the modern tradition is not `old news`, a decrepit archive, ’Yesterday’s Papers`, from which one may legally quote from memory. No, he remained IN the tradition. Which is still as fully operative in former Yugoslavia as
it is in the whole of Europe.So Mirso Bajramovic is not simply an artist who carries night through day, he also wants the sun to shine in the darkness, make the light of reason clarify the dream. Or rather: he comes up to the arch-aphorist Karl Kraus’ expectations about people who dare call themselves artists: `An artist is someone who manages to change a solution into a mystery.` What does he do with that mystery, this happy artist? No, he does not solve it. He starts to search for her whom G.B. Shaw named `the sphinx without mysteries` - the muse, maybe. What she does and wants Bajramovic to do, what she still has in store for him, is and should be a mystery for now. What is certain, notwithstanding, is this: first Bajramovic silenced me, then he made me speak interminably. May I be forgiven for both.
Maarten Beks -Dutch art magazine “Kunstbeeld” (fragment)