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The Estate of Miroslav Tichy Organizes Exhibition at Galerie Walter Kellerin Zurich
File photo Czech photographer Miroslav Tichy from Kyjov in Hodonin region of the Czech Republic gestures holds an archive image in Kyjov, Czech Republic. Tichy took thousands of secret pictures of women who were unawarethat they are being
photographed. Tichy was using homemade cameras constructed of cardboard tubes, cans and other materials. Tichy's voyeuristic photographs were successfully shown and sold in venues such as International Center of Photography in New York City, Kunsthaus in Zurich and Centre Pompidou in Paris. Miroslav Tichy died on Tuesday, April 12, 2011 at the age of 84. AP Photo/CTK, Vaclav Salek.

ZURICH.- In the first solo show in Switzerland since the exhibition at the Kunsthaus Zurich in 2005, approximately 35 works by Miroslav Tichư are being shown until the first days of September. Additional works are available.

Czech artist Miroslav Tichư, born in 1926, holds a unique position in the history of 20th century art and photography. He died in April 2011 in the Czech city of Kyjov.

All photographs displayed in this commemorative exhibition, as well as all additional works available from Galerie Walter Kellerin's stock, were directly acquired from Tichư’s sole heir of all property rights, Jana Hebnarova. The gallery also informed that Mrs. Hebnarova will continue to work with the gallery on the basis of exclusivity.

For more than thirty years – that is, until the late 1980s – he lived a life of personal and cultural isolation, but took dozens of photographs every day, his great subject being the women of the town.

His deliberately marginal and fiercely nonconformist way of life, so little in accord with the ideology of the day, led to repeated run-ins with the authorities, leading to several periods of confinement in psychiatric institutions in the Sixties and Seventies, and to his losing his studio in 1972.

His images, shot instinctively or carelessly on his handmade cameras with their makeshift optics, offer an extraordinary vision of a fantastical, eroticised reality, half real, half dream. Women at the swimming-pool, women in the street, women indoors, women on the TV screen: these are his single, obsessional subject. Enlarged and printed on his own improvised equipment, the photographs were then often retouched before being mounted and framed using such materials as old newspaper and cardboard before, sometimes, being put away and forgotten for years. Over- or under-exposed, scratched, blurred, torn, and spotted, they nonetheless reveal an uncategorizable artist, whose methods recall those of the amateur or the naivety of outsider art, but whose images are strongly marked by influences from the classical pictorial tradition. With its endless return to the same subject and the volume and regularity of its production, his work also has affinities with many procedures of the contemporary art of the same period





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