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© Miroslav Tichy, untitled, undated (7-2-66)
Reworked b&w silvergelatine print on baryt paper, framed
Dimensions unframed: 18 x 12,9 cm Courtesy: Kewenig Galerie, Cologne

Located in the heart of the Parc d’Avroy, the Exhibition Room in the MADmusée pursues a policy of intelligently and sensitively promoting the works of “outsiders”. Recently appointed Director, Pierre Muylle (previously at the SMAK in Ghent) is featuring, at BIP2012, a group of four artists who are very much out of the ordinary.

Interest in the work of Miroslav Tichý (CZ), who died recently, is currently enjoying a revival because of the unique and extraordinary character of a photographer obsessed with the female image. The photographs of Lee Godie (US) and Morton Bartlett (US) are rarities. Godie first became known for her pictorial work and  some self-portraits shot in a photo booth will be on display. Bartlett will be represented by the disturbing images of dolls, which were kept secret in his lifetime. Finally, alongside these photographs will be a group of sculptures by Loulou (B). This native of Liège created hundreds of clay figurines which had either been scattered all over the place or simply lost – the team at the MADmusée tracked them down and assembled them for the occasion.

“The artists we have put together for this Exhibition have all had an unusual life. Lee Godie, the self-proclaimed “French Impressionist”, lived in the streets of Chicago, whilst the Czech artist Miroslav Tichý, a lonely figure, secretly took photos of women in Prague with a camera he had made with his own hands – rather in the fashion of a traditional craftsman. Morton Bartlett, who had been a professional graphics artist in the 40s, made dolls of little girls before photographing them. And Loulou, who had previously been a nurse, began, in her later years, to sculpt a great many clay statuettes.

Each of them lived a life where the passion for the image took its form in very trying conditions which, in turn, imbued their work with an extremely troubling dimension. Their life story can actually make it hard to interpret their work. However, beyond the realms of legend and even if the secret intention of these creators lies beyond our grasp, the scope for interpretation remains wide open, allowing each of us to discover in these images a story beyond myth, a story which takes account of the love of the image just as much as the image of love. Even then, travelling along this particular path neither reduces nor excludes other possible interpretations,  depending on how each of us reacts individually. That’s why “Rumours/Rumeurs”, behind the purely anecdotal, invites us, the public, to discover these strong creations less as a collection of stories but far more as a collection of images”.
(Pierre Muylle)




Miroslav TICHÝ





Parc d'Avroy, s/n
B - 4000 Liège