Het onvermoeibaar epos (The tireless epic): Fieret-Tichy-Heyboer Fotomuseum Den Haag The Hague, the Netherlands October 2, 2010-January 9, 2011 The connection between artist Gerard Peter Fieret (1924-2009) and the Fotomuseum of his hometown, The Hague, the Netherlands, has always been strong. In 2004 the museum featured a major retrospective of Fieret's work to honor him and to celebrate his eightieth birthday. Six years later, the retrospective's curator, Wim van Sinderen, decided to deepen this achievement by displaying the work of Fieret and two other self-taught photographers and outsiders to mainstream photography, Anton Heyboer (1924 - 2005), who was also Dutch, and Czech photographer Miroslav Tichy (1926--). Multiple factors occasioned the exhibit: the Gemeentemuseum's acquisition of the Fieret's estate after his death, the growing global attention to Tichy--marked by the solo shows at the Centre Pompidou in Paris in 2008 and at the International Center of Photography in New York City in 2010--and the accidental discovery of mislabeled photos by Heyboer in the Gemeentemueum collection in 2009. The show aimed to provide a panoramic view of the vast production of the three artists (displaying roughly fifty images from each), and highlighted the similarities in their works as well as the differences in their approach and intentions. This parallelism greeted the viewer from the exhibit entrance, where an introductory panel explaining the theme was wedged between a selection of three works from each artist. In each of the three rooms of the exhibition, explicative texts summarized each photographer's biography and his specific conception and use of the tools of the trade. The installation of display cases constituted a theatrical reconstruction of the artists' workspace, cleverly enabling an enhanced understanding of the work. Proceeding through the exhibition, the viewer first encountered Fieret's piles of writings and photocopies, along with his disposable and non-disposable cameras and a tank full of negative film rolls. Next was Tichy's vitrine containing his famous self-made cameras, an enlarger, hundreds of film rolls, drawings, sketches, and books. Last but not least were Heyboer's Hasselblad cameras, a Leica M5, and lenses, all covered in pink paint (which should have been white, were it not for a misplaced drop of red pigment that tainted the bucket). The paint was intended to minimize the aura of the medium and transform it into a ludic object (as opposed to a professional-looking one) and to assert Heyboer's detached and complete possession of it. The exhibition's selection was in many ways sporadic. Curator Wim van Sinderen seemed to rely above all on instinct when choosing his images, as opposed to any dogmatic, qualitative norm. The exhibition's title a quotation taken from a poem written by Fieret--affirmed the constant, intensive, obsessive nature of the work of all three photographers. Their process, in which a continuous flow of images is generated rhythmically and devoutly, grants no space for hierarchy, for assigning rank on a scale of importance and prominence. The exhibition's random selection and presentation were in keeping with that creative freedom. Yet it did not neglect a common subject for all three photographers--women--albeit in different declinations. [ILLUSTRATION OMITTED] Compared and read through the recent critical acknowledgements, photography historian Clement Cheroux's concept of the serendipitous flaw or fault is central to understanding the unconventionality of the artists' vision and the originality of their composition and framing. In this work, the fault is a consequence of precise choices, in which imperfection is pursued as an element of aesthetics, poetry, and eventually truth--as they saw it and supports the photographers' commitment to following their own intuitions and self-imposed rules. …
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