Biography
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)
Collections
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.
Editions
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