Dolorès Marat

  • 代表作品

    Orient, 1989-1990

    The photographic work of Dolores Marat recounts the magic of night time. Although most of the photographs selected for this exhibition were taken in broad daylight, the dark skies, the velvety images and the tonality, all evoke those uncertain hours when the night quibbles with the day and the reality fades. It is a photography of encounters, magical moments, moments stopped in time. She never reframes or retouches.
    br> For her prints, she worked for a long time with Atelier Fresson whose unique technique was perfectly accorded to her color tones. The prints of the exhibition were made on a handmade Japanese paper that Dolorès Marat discovered recently and whose grain combines with that of the image.


  • 人物生平


    France ,

    "It will be said of her everywhere that she began using only the Fresson drawing process (like Bernard Plossu). That explains the dinguerie of colors. She says she prowls, the device under the mantle, on the lookout for the moment that will move her. Of the one she has been waiting for forever. She also says that she did not go to school other than learning at the age of 15, from the photographic process in a studio in Sucy-en-Brie, France.That is to say, she began by doing the housework. Because it was that or the textile industry. She then became a laboratory assistant for the press. It was not until 1981 that Dolorès Marat, born in 1944, produced her "personal photographs". All these data constitute a kind of myth and the temptation is great to think that one could formulate from them the recipe of photos Dolorès Marat, their secret. Because the universe of the photographer is intense. One enters indeed in her photographs as in paintings, instants so real that they confine to the magic. A powdery ensemble, a nostalgic strand, always true, there, epidermic.

    The photography of Dolorès Marat happens at night. The question here is not so much that of shooting. '' The dromedary of the theater of Palmyra '', for example, was taken in the middle of the day and seems to come out of a dream: the sky (of an indefinable color) roars while the animal grazes on a slab that seems not propose no grass, nothing edible. In the background, the theater, a limestone pink tones. It is also the subject; its edges are overflowing with photography and, passing under the dromedary, it devours the foreground to the point that one wonders if it does not reach us. Fresson tones, the angle of the shot: impossible not to have the feeling of falseness that provides the cardboard decor. The facade contrasts with the sky as if it were a collage (it would have the thickness of photo paper) while the main opening suggests an infinite maze inside the building. The whole takes us nothing less than science fiction. The night then, more than the real, the night and its value of dreamlike, of margin. The photographs take place at night because they do not pretend to reflect the tangible as much as the feeling. The image is the fragment of a world while being its only possible form. What is being played is of the cinematographic order. One thinks of the hiss of the film which is the trace on which the film is built. Something is going on. It is that there is double roaming: that of the eye that captures and that of the subject. And photography, the junction point of these itineraries, is not fixed. It is the seizure of a past moment but, because it includes everything that led the photographer to the place of the catch, it has nothing stopped.

    The meeting, the importance of the very short moment of the capture of the image, explain in part why Dolorès Marat does not edit or reframe her images. The gesture matters more than the result. It's about reporting an emotion without filtering, not talking or giving any prowess to see. A detour by the proximity of the Daidō Moriyama approach allows to specify more. Wandering, which is the common measure of the two photographers serves to capture the acme of a scenario that belongs to both the artist and his subject and is the subject of photography. As if the photograph was an open door, a liberating breath. Like a chemical process, the image created by the encounter between the artist and the photographed space thus tends to become a new entity, a space to invest".

    Clare Mary Puyfoulhoux | April, 2016

    Exhibitions since 2000)

    2019 : L’atelier Gulla Jonsdottir – Louis’ Dimension Los Angeles West Hollywood
    Louis’ Dimension Gallery, Artup Lille grand palais, France
    2018 : Fotofever - Carrousel du Louvre, Paris
    2017 : Paris Photo Grand Palais, Paris
    2016: Zoom, Flair Galerie, Arles, France
    Tourbillon, Studio Fotokino, Marseille, France
    2015 : Mille rêves, Leica Store, Paris, France
    2014 : Fotofever, solo show Dolores Marat, galerie Besson, Carrousel du Louvre, Paris
    Dolores Marat, Plus loin en Méditerranée, Cannes, musée de la Mer
    Traces, galerie Françoise Besson
    2013 : Sirocco, In camera gallery, Paris
    2011 : Sirocco, Galerie Aliceday, Brussels
    Spectacle, In camera Gallery, Paris.
    2010 : Siroco, Atelier de Visu, Marseille
    2008 : Solo show, festival 9PH Galerie Besson et Néon, France, Lyon
    2007 : MKgallerie, Rotterdam, Pays Bas
    Galerie Kamel Mennour, Paris, France
    2006 : To be art, Saint-Barthélemy
    2004 : Centre culturel français de Damas (Syrie)
    2003 : Centre Art moderne, Enghien Les Bains, France
    Open Eyes Gallery, Livepool (UK)
    2002 : Hermès, New-York, USA
    Galerie Damasquine, Bruxelles, Belgique
    Galerie Serge Anoukrat, Paris, France
    2001 : Galerie Contrejour, Marseille (F)
    Centre culturel de Cherbourg (F)
    Collectives exhibitions (selection since 2000)
    2018 : Galerie des franciscains, Saint Nazaire, France
    2017 :Musée botanique, Bruxelles
    2016 : ST ART, Strasbourg, galerie Françoise Besson
    Paris Photo, In Camera Gallery, Grand Palais, Paris
    Art Paris, Grand Palais, galerie Françoise Besson
    Photomed, galerie Barthélémy de Don, Sanary sur mer
    2015 : London ArtFair, Galerie in Camera, Londres
    Les rencontres de la photo d’Arles, Hôtel de Grille
    Temps zéro, Braga (Grèce)
    Art Paris art Fair, Grand Palais, galerie Françoise Besson
    2014 : Paris Champ & Hors Champ, Galerie des bibliothèques, Paris 4ème
    BORDeMER, collection photographique du Conservatoire du Littoral
    Ecole Nationale Supérieure d'Architecture Paris-Val de Seine
    Photo Docks Art Fair Lyon, Dolorès Marat & Gilles Verneret
    Devenir Arbre / Debout depuis 10 ans, galerie Françoise Besson
    Jane Evelyn Atwood et Dolorès Marat, Centre méditerranéen de la photographie et la ville d'Ajaccio.
    Open your eyes, cloître Saint Louis parcours de l’art en Avignon.
    La femme est un photographe comme un autre, festival des promenades photographiques, Vendôme
    2013 : Paris Photo Grand Palais, Paris
    2011Transition, in camera Gallery, Paris
    2010 : Scope Basel, Suisse, Galerie Françoise Besson
    Mediterranean photography, Bath House of the Winds, curated by Stavros Moresopoulos, Athènes
    2008 : Centre d’Art Contemporain de Pontmain, Pays de la Loire
    2006 : Château d’eau Toulouse (F)
    2004 : Paris Photo (F)
    2002 : Mois de la photographie, Pyngyao (Chine)
    Mois de la photo, Paris, Galerie Iris (F)
    2001 : Mai-Photographiques, Quimper (F)
    Sense of Space, Groningen (Pays-Bas)
    2000 : Watt’s Gallery, New York
    Photographers’ Gallery, Londres (UK)
    Mois de la photo Galerie Serge Abouckrat
    Galerie Thierry Marlat,
    Mémoire de l’Europe, Hôtel de ville,
    Paris Photo, Carrousel du Louvre (F) /
    Damasquine gallery, Bruxelles (Belgique)


    Guggenheim Museum (NY),
    Musée de la photographie, Charleroi (Belgique),
    Galerie Frédéric Bazille, Montpellier (F),
    Fnac (F), Artothèque de Nantes (F),
    L’oeil Ecoute, Solignac (F),
    Coimbra (Portugal),
    MEP, Paris, NSM vie (F),
    Fond National pour l’Art Contemporain (F),
    Cabinet des Estampes, Bibliothèque Nationale de France, Paris (F),
    Artothèque de Lyon, et Particuliers.


    2018 : « Mezzo Voce » éditions Fario
    2017 : « Palmyre et autres orients » éditions La Pionnière
    2016 : « Paris Correspondances » éditions La Pionnière
    2007 : « Insolite » portfolio éd Chez Higgins, coll. Témoignages Portfolio tiré à 30 exemplaires numérotés et signés par l’artiste, l’éditeur, et le préfacier, chroniqueur Vincent Applanat, comportant 15 photographies au format 13 x 19 cm chacune encartée dans une feuille cristal.
    « Metro » porfolio éd chez Higgins, coll.Espaces.
    2003 : « Illusion », Editions Filligranes, Préface de Marie Darrieussecq
    2002 : «New-York USA», Editions Marval Paris
    2001 : « Labyrinthe », Le point du jour éditeur et Dewi Lewis Publishing
    2000 : « Boulevard Maritime » , Carnet de voyage N°9, Le point du jour éditeur
    1995 : « Rives » - Ed. Française : Marval, English ed. : Dewi Lewis Publishing, German ed. : Braus
    1992 : « Passage » - In visu
    1990 : « Eclipse » éditions Contrejour


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