Dani Marti

April – July 2012 : New York Artist Studio Residency

Spring 2012:  DANI MARTI Monograph

Dani_book_promo3

31 March – 20 May 2012: SILVER 1987-2012, Wangaratta Art Gallery Celebrating 25 Years

group exhibition

17 September – 13 November 2011: TOUCH,  the portraiture of Dani Marti

solo exhibition

press release

16th November – 11th December 2011:   And that’s it

solo exhibition

July 19th – August 13th, 2011:  Book of miracles

solo exhibition

Friday, 29th- Sunday 31st, july 2011: INHABIT

Curated by Lee Cavaliere
with Nicolas Gonzalez, Dani Marti, Kit Merritt, Sarah Roeskin,  Minnie Weisz, James White, Maca Yanez, Eric Schockmel

5th of March to 30th of April, 2011: Let the Healing Begin

curated by Robert Leonard

Stuart Ringholt, Grayson Perry, Ronnie van Hout, Mike Kelley, Otto Muehl, Mike Parr, Julian Dashper, Robin Hungerford, Pierre Molinier, Rose Nolan, Tony Oursler, Grant Stevens, Peter Tyndall, and Gillian Wearing, Dani Marti

The idea that art makes us better people, that it heals our souls, is an anathema. In the art world, ‘art therapy’ is the butt of endless jokes. Nevertheless, contemporary art is riddled with therapeutic subtexts and strategies. Let the Healing Begin features works that address therapy. Some of the works endorse therapeutic imperatives, some satirise them, others are undecided. The line-up is a mix of local and international artists.

November 2010- 20 March 2011: Social Documents: The Ethics of Encounter

curated by kirsten Lloyd

The Atlas Group (Lebanon/USA), François Bucher (Columbia/Germany), Renzo Martens (Belgium), Dani Marti (Scotland), Frederick Wiseman (U.S.A.) and Artur Żmijewski (Poland)

When artists site their practice within the fabric of social relations, documentary modes often play a central role in mediating events and experiences. Though the resulting material often bears a close resemblance to ethnographic mapping, investigative journalism or even community work, in contrast to the strict ethical codes to which these disciplines adhere many of today’s artists operate in somewhat murkier waters. Working outside – or even deliberately corrupting – accepted conventions and frameworks, the artists participating in this two-part exhibition find alternative means to engage with social realities in situations of war, sex and political urgency.