• Chance after chance, by Corinne Mercadier, photographer, Fabien Ribery Blog "L'intervalle" 2018

    If the photographs of Corinne Mercadier are in permanent quest of the seizure of harmonically perfect moments, it is that to stand on the floating bridge of the sky is the affair of a rare moment, of a fraction of second unprecedented, a small miracle of ephemeral composition, before everything is disordered again.

    To make the space appear and sculpt it, the photographer uses thrown objects, revealing through their unexpected dance the power of geometric structures uniting the air,...

    + Read more

  • Dominique Baqué, Corinne Mercadier, 2016. Text written for the shows "Le ciel commence ici", Les filles du calvaire, Paris, and "Images rêvées", Leica Photographic space, Paris

  • Charles-Arthur Boyer, Echo of a presence in the light of the night, Excepts, in "Devant un champ obscur" Corinne Mercadier, Filigranes Editions, 2012

    The impression imposes itself at once, with the force of fact. Even if it is not easy to pinpoint precisely what prompts it: the recognition of a rigorous, limpid language that is nonetheless oddly elliptical; an impression of simplicity and clarity, yet also of rare density and depth; the sensation of experiencing a moment that is unique and particular, but still curiously close and familiar; a sense of silent, quiet strangeness devoid of any artifice or artificiality. In other words, a highly...

    + Read more

  • A great photography month, by Dominique Baqué, Art Press n°397, february 2013, page 82, excerpts

    No two Paris Mois de la Photo are the same. Some are impoverished or conventional ; others offer the public an opportunity to discover excellent work. The 2012 photo month was of the latter kind. For example, I was much struck by the radicalism of the work of three artists who have reached full artistic maturity, Patrick Tosani and Lynne Cohen, whose praises I have sung here before, and Corinne Mercadier, who has magisterially refreshed an iconography that sometimes was too poetically pretty. ...

    + Read more

  • Alan Klotz, New work by Corinne Mercadier, Solo and Black Screen, exhibition at Alan Klotz Gallery, New York, April-June 2013

    Corinne Mercadier is a dreamer...she's famous for it.  And when she wakes up she often must rush to draw what she just dreamt.  She knows she hasn't long before the memory will fade, and she very much wants to remember it. So the dreams, and other memories from childhood, and some of the more evocative things she has read ...the things that stay with her most strongly, end up in the drawings.

    The drawings then get another life in the theater she creates on the salt evaporation...

    + Read more

  • Corinne Mercadier, Photographies 1999-2012, by Luc Desbenoit,Telerama n° 3290, february 2013

    She had to give up her Polaroid. But the exploration of the digital has revealed unsuspected parts of her mental landscape. Her latest series irradiates. Since the beginning, Corinne Mercadier (born in 1955) practices photography as an adventure. One would be tempted to say as a drift, letting oneself be guided by what is most singular in her. Student in history of art in Aix-en-Provence, she began by taking a pool, always the same, for two years with a Polaroid SX-70....

    + Read more

  • Virginie Luc, Corinne Mercadier « The photographic act is a poetic act », Polka #31, January 2013

    One must have long scrutinized within oneself to see what she sees, and catch the moment's acute flight like a fever. A little girl in a forest runs in front of a kind of organdy dress raised by the wind. Darkness, like oblivion, cuts a corner of the image. We look at it, and we remember. At a wild pace, childhood submerged. "Once and no more" This time is ours too. No doubt Corinne Mercadier, 58, a professor of visual arts in a Parisian college, artist trained at the University of...

    + Read more

  • "Corinne Mercadier's deep time", by Jean-Baptiste Para, in Europe n°1005-1006, january-february 2013, in French

    Untranslated
    « Ce qui demeure décisif en photographie, c’est toujours la relation du photographe à sa technique », remarquait Walter Benjamin dans sa Petite histoire de la photographie. En 2008, l’arrêt de la fabrication de la pellicule Polaroid SX70 a bouleversé le travail de Corinne Mercadier, l’obligeant à considérer la possibilité même d’en reconstituer l’horizon avec des outils numériques. Ce que l’on entend ici par horizon, c’est d’abord l’espace mental...

    + Read more

  • Jean-Christian Fleury, L’Oblique. About "Debout" ("Standing"), series "Long distance", 2007, in French

    (Untranslated)
    Ils sont là, presque en file indienne, entre deux eaux, entre deux mondes. Le chemin, parfaitement rectiligne est étroit. C’est une ligne qui sépare et relie, qui ligature ce paysage horizontal où l’eau et la terre menacent de se fondre à la surface granuleuse de l’image. Qui sont-ils ? On ne saurait même les compter avec précision tant ils font masse. Leurs ombres, au contraire, s’étirent, parallèles, sagement rangées, assujetties à cette lumière qui,...

    + Read more

  • Armelle Canitrot, Figure eight in flight

    Never has the symbolism been as strong as in this work involving the finite and the infinite, the white and the black, in a curious interpretation of yin and yang whose wisdom wants a little of one exists in the other, and vice versa. A work that also sees the triptych become an altarpiece, which no one ignores the link to the most accomplished religious art. Especially the extraordinary Jardin des Délices by Hieronymus Bosch, to whom Corinne Mercadier often refers. Covering both...

    + Read more

  • Armelle Canitrot, Absence

    “Friends, parents, children on the beach in the evening, all immersed in the moment. They are busy, bored, playing, talking… but not me. I am suddenly struck by the view I have of them. They are turning their backs to me, or, more accurately, I am going to see their backs, and what I find is their absence and my own. It is an urgent photo of an immobile scene.” (Note 15) A memorial photograph that holds the trace of a memory given directly by the real, Années-Lumière is the founding...

    + Read more

  • Armelle Canitrot, Variability

    This is why, when coming to look for her “interior” locations, she explores the nooks and crannies of those houses in Bages that recall childhood games of hide and seek. For these she again uses the Polaroid, whose square frame, grain, fragility and variable colours allowed her to invent a new kind of relation to time and space in her early works. The Polaroid SX70 and its professional film, number 778, more vividly known as “Time-Zero Color Instant Film.” The name seems to predict the...

    + Read more

  • Michele Moutashar, le vol des phylactères

    (untranslated)
    D’Arles, si définitivement minérale, déployée dans l’excès continu de son métal, Corinne Mercadier choisit toitures célestes et revers, de celles qui bordent façon ourlet le déambulatoire du Cloître, ou l’extrados des Prêcheurs, et les degrés de Montmajour ; et ce par nature, une sorte d’évidence qui la porte continuellement, que ce soit à Bages, au bord de cet étang évanoui, lieu de son précédent travail, ou cette fois encore, très exactement là...

    + Read more

  • Magali Jauffret, Des rêves éveillés

    (untranslated)
    Les grandes images noir et blanc, format polaroid, de Corinne Mercadier montrent des personnages confrontés, dans la nature, à des objets volants identifiés comme autant de vêtements, linges, voiles poussés par le vent. Une gosse qui court dans une forêt semble vouloir échapper à la menace d’une chemise de nuit immaculée aux manches longues tentaculaires. Un homme qui fait son jogging semble encerclé, mais peut-être, après tout, n’est-il qu’accompagné, par...

    + Read more

  • Jean Arrouye, île illusoire

    (untranslated)
    Lumière instable, rideaux de pluie, notations d’un poème qui semble commenter l’un de ses Glasstypes, où l’on peut voir un rideau de pluie et de lumière mêlées s’abattre sur une chaîne de montagnes escarpées qui se découpent à contre-jour.
    A droite et à gauche de la zone de pluie qui va en s’évasant à mesure qu’elle se rapproche du sol, laissant supposer de violents remous de vent d’orage sur les reliefs, le ciel est d’un bleu violacé...

    + Read more

  • Jean Baptiste Para, The elusive

    Objects, worldly things which appear in Corinne Mercadier’s photographs, seem to be there inadvertently. Or rather, they do not constitute the sole subject. They do not noisily impose their presence, they do not demand our gaze. That which lives in them, that which they manifest, is maybe the silent and forgotten part of love which resides in everything. These objects do not emerge in the light of a fugitive hour, they don’t gleam in their lively freshness. They do not stay on the...

    + Read more

  • Jean Baptiste Para, The time and the place

    What does one see in Corinne Mercadier’s photographs? Sky and water, the line of the horizon, fragile landing stages with loose planks, one or two boats hauled up on the shore, almost nothing. Objects were not more numerous in the paintings by Morandi. Vases, jugs, bottles. An equal perseverance in laconism. An art of little where the lifeless and the second-rate become the most radiant reality. An illustration of forlornness which metamorphoses itself in the ecstasy of solitude.
    Against...

    + Read more