Tichy先生现在已经年过80，在知名的策展人Harald Szeemann将他的一张照片纳入2004年的Seville Biennial展览之前，他仅仅只是一个当地的奇人而已。那件作品获得了“新进发现奖”(New Discovery Award),同时Tichy海洋基金会也以他的名义成立了。摄影中心的展览 “Miroslav Tichy”是他第一个在美国博物馆的展览，虽然令人有轻微的不安，但与此同时也是极其地引人入胜.

　　The exhibition, organized by the center’s chief curator, Brian Wallis, includes some 100 mostly unique prints, as well as homemade cameras and other crumbling ephemera from Mr. Tichy’s house in Kyjov. The museum is also screening “Tarzan Retired,” a 35-minute film from 2004 by Mr. Tichy’s longtime neighbor and biographer, Roman Buxbaum.

　　展览的组织者――中心的总负责人Brian Wallis，将100张冲印得最独特的照片、Tichy先生在Kyjov家中的自制相机和一些其他的细枝末节。博物馆同时放映了一部35分钟长的影片 “Tarzan Retired”，这部影片是在2004年时由Tichy先生的老邻居兼传记作家Roman Buxbaum拍摄的。

　　You might call Mr. Tichy (pronounced TEE-kee) an outsider artist if it weren’t for the inconvenient fact that he studied at the Academy of Fine Arts in Prague and was for a time a celebrated painter. His photographs may look nave, but they’re the product of a carefully orchestrated series of missteps that begins with crude, homemade cameras. As he says in the film, “If you want to be famous, you must do something more badly than anybody in the entire world.”

　　要不是因为Tichy先生（发音为Tee-Kee）曾在布拉格艺术学院学习并在一段时间内曾是一个著名的画家，你就可以称他是一个非学院派艺术家了。他的摄影作品也许看起来很天真，但他们都是由精心设计出来、用自制相机拍摄的、粗制滥造的、充满错误的系列作品。就像他在影片中所说的“如果你想成名，你就必须做出某件比这世界上任何人做得都糟、差到极致的事。”

　　His photography is also much more subversive than Westerners might perceive. It exemplifies the nonviolent dissent perfected by Czech students and artists during and after the Soviet invasion of 1968, when the nurturing Prague Spring was followed by a crackdown on free expression.

　　他的摄影作品同时也比西方人意识到的更具破坏性。 在伴随孕育“布拉格之春”之后对自由言论的镇压，1968年由捷克学生和艺术家在苏维埃武装入侵期间和之后发展出来的非暴力形式的抗议，他的摄影作品正是这一非暴力形式的抗议的典型代表。

　　Mr. Tichy was marked from the beginning: he was a nonconformist with a history of mental illness, and a former member of the Brno Five, a group of painters who broke with the state-sanctioned Socialist Realism of the postwar years. He was monitored and, from time to time, institutionalized.

　　Tichy先生在一开始就被贴上标记：他是一个有着精神病史的从不墨守成规的人，他是Brno Five――一群在战后几年中打破国家认可的社会主义现实主义者的前任成员。他曾被监护并且时不时地接受治疗。

　　He did not take up photography until the late 1950s. (All of his pictures are untitled and undated; those in the show are thought to have been made between 1965 and 1980.) When he did, he quickly moved from nostalgic landscapes in the style of Josef Sudek to his fleeting portraits of the women of Kyjov.

　　他知道20世纪50年代末才开始从事摄影。（他的所有照片都是没有题目和日期的，那些在展览中的作品被认为是在1956年到1980年间完成的。）当他开始摄影的时候，他快速地从Josef Sudek风格的怀旧风景摄影转移到对Kyjov女人的人像快照。

　　Allowing himself three rolls of film a day, he wandered the streets performing his own personal version of the Czech government’s surveillance program. He was a stalker of pretty girls with a secret agenda.

　　他游荡在大街上上演他的“捷克政府摄像头项目"的个人版本，允许自己每天消耗三卷胶卷。他是一个有着秘密动机的漂亮女孩的跟踪者。

　　Clearly Mr. Tichy admired legs, and backsides, often cropping the image to show just the lower body. But he did more than ogle. Many photographs show conspiratorial pairs of women: gossiping, telling secrets or otherwise staking out bits of privacy in public.

　　明显的，Tichy先生欣赏腿部和背部，经常将画面进行裁剪来展现下半身。但他可不光只是暗送秋波。很多摄影师展示一对对策划阴谋的女性：传八卦，透露秘密或在公共场合裸露部分隐私。

　　He seems to have been tolerated as the town eccentric, alarming in habits (daily visits to photograph at the local pool) and appearance (an unkempt beard and ratty sweater) but harmless enough. In one memorable shot two seated girls confront the camera with disdain, as if to say, “There’s that creepy old guy again.”

　　他似乎被当做镇子里古怪的、拥有令人害怕的习惯（每日到访并拍摄当地的水池）和外表（未经修剪的胡须和破烂的毛衣）但却并不造成伤害的人而被忍受着。在一张令人难忘的照片中，两位坐着的女孩轻蔑地对峙着镜头仿佛在说“又是那个吓人的老头。”

　　As Mr. Buxbaum’s film reveals, some of Mr. Tichy’s subjects assumed that his camera was fake. The cameras certainly don’t look functional; he fashioned them from shoeboxes, toilet-paper rolls and plexiglass, polishing the lenses with toothpaste and cigarette ash. You can see some of these misbegotten objects in two vitrines, along with stacks of tattered prints.