In short

Jean-Paul Goude donates 100 works to Centre Pompidou

Jean-Paul Goude has a donated a hundred works to the Center Pompidou. This significant donation of...

Florian Ebner designated as Centre Pompidou’s new Chief of Photography

The Center Pompidou appointed Florian Ebner as the Cabinet of Photography chief-curator. He will com...

Athens Photo Festival calls for entries

Athens Photo Festival, which will take place in the Greek capital from June 7 to  July30 just open...
Jean Loup Sieff - Commande pour le créateur Jean-Marc Sinan, Janvier 1987 © Jean Loup Sieff et Gros & Delletrez
Jean Loup Sieff - Commande pour le créateur Jean-Marc Sinan, Janvier 1987 © Jean Loup Sieff et Gros & Delletrez

We received this text about Miroslav Tichý written by the galerist Pascal Polar, from Brussels. We decided to publish it.

I first discovered the artist Miroslav Tichý in 2008, during an exhibition at the Centre Pompidou in Paris. 

Having never read anything about his work, I was drawn to his 2008 photographs, dominated by a feminine presence, damaged and out of focus. I remember the pleasure I felt, even as I perceived their “defects.” and the coherence of the artist’s universe.Invaded by powerful technology in our world we are now used to the vision ,the consuming of perfect products studied calibrated and conformed.  Even in the realm of thought, criticism and protest are often revealed to be nothing more than the image of the product in question. We feel as though we’re floating in a sea of perfect products. The photographs of Tichý seemed like the perfect response to our world, thanks in part to his experience with the idyllic communism of the 1960s through the ‘80s. Tichý had transformed himself into the anti-“Man of Marble” polished by the slogans claiming progress and “realism” whicd were the only ways to give substance to the state and the individual. The artist relied on a faulty, handmade camera, doing things, “worse than anyone else in the world,” informed by drawing and painting, which he gave up in the 1950s. The apparent “chaos” I observed in the exhibition was organized. 

Tichý had no desire to exhibit any part of his artwork.Made for himself with method,determination and above all with  systematization His life is superimposed upon the daily life of his town, the shutter release, the resulting vision revealed. The “finished” product, the printed photograph, no longer interests him, hence the abuse to which he subjects his work. Only its production matters, while its “capitalization” is denied. There’s a controlled wandering behind the fake cameras (they were so incredible that people thought they were toys or the inventions of a madman), behind the dirty and neglected appearance, within society. While some take picures of, parades, factories, ceremonies and sporting events, Tichý shoots, in a village of 10,000 people, the women, girls sitting at a pool, women’s crossed legs on a bench or an outdoor café. “Two or three rolls a day, 100 photographs a day.”

Read the full article on the French version of L’Oeil.

Pascal Polar

See more

Miroslav Tichy

This last master of the 20th century photography was only discovered some 6 years ago and left a radical and unorthodox body of photography focussed on the female figure. After studying at the Academy of Arts in Prague, Miroslav Tichý...