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Afterword: “Captivities”, by Vincent Pélissier
It should be remembered that Dolores Marat has long photographed many animals — without risking the least in the world the job of wildlife photographer — and that they are always affected by loneliness. There do exist in his album certain images of ensembles, a flight of birds, a troop of riders, but they are so distant, so scattered in the expanse of a desert or a sky, that in their turn and collectively they are very lonely. And it is therefore never a question of photographs of monkeys, giraffes, owls, but those of a singular subject, chosen in his solitude, and even, let us slip a little on the anthropomorphic slope, in his unhappy dereliction. His tropism is not that of animals in their so-called wild state but of those that the world has integrated into its poor leisure machinery, those who can be felt sad at the bottom of a cage, a zoo: relics, recluses, captives abandoned to the curiosity of visitors in a hurry, and to whom she grants a form of dignity without concealing but only suggesting their condition to our thoughts. These subjects of Jardin des Plantes were precursors announcing to men what they were advancing towards, having lost both their native and free place within Creation and their profession useful to our customs, works, positions, omens, emissaries. We are also now providing them with digitized viewings to chat from one cage to another and to imagine what they look like when dying of boredom but strongly excited in the infatuation of the network. and to whom she grants a form of dignity without concealing but only suggesting their condition to our thoughts. These subjects of Jardin des Plantes were precursors announcing to men what they were advancing towards, having lost both their native and free place within Creation and their profession useful to our customs, works, positions, omens, emissaries. We are also now providing them with digitized viewings to chat from one cage to another and to imagine what they look like when dying of boredom but strongly excited in the infatuation of the network. and to whom she grants a form of dignity without concealing but only suggesting their condition to our thoughts. These subjects of Jardin des Plantes were precursors announcing to men what they were advancing towards, having lost both their native and free place within Creation and their profession useful to our customs, works, positions, omens, emissaries. We are also now providing them with digitized viewings to chat from one cage to another and to imagine what they look like when dying of boredom but strongly excited in the infatuation of the network.
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