DANI MARTI

DANI MARTI

b. 1963

DANI MARTI was born 1963 Barcelona, Spain. Lives and works Sydney, Australia and Glasgow, Scotland. Marti works across video, installation and public art. His unorthodox woven and filmic works turns to wider notions of portraiture and sexuality in Modernism, Minimalism, and geometric abstraction.

Oscillating between hopefulness and failure, Dani Marti’s work is hinged to a representational paradox. For on the one hand it presupposes belief in the act of portrayal, and on the other hand it tacitly admits portraiture’s inevitable failure to accurately capture. His relation to his subject is consistently fixed: an obsessive, laborious, and often desire-driven attempt to represent something of his subject that is beyond appearances. Something of a deep-rooted lust between him and his subject, something of an essence, something, in other words, beyond surface. But it is surface—quite literally—that we as viewers are left with in Marti’s work, nothing objectively closer to ‘the real’ other than what one chooses to see and read into it. Marti’s work is thus an explicit reminder that viewer subjectivity is the only place where the portrait can truly be generated. His gestures toward it are merely our starting points.

http://danimarti.com/

“For Marti, both weaving and (video) taping, represent an act of bondage, a ritual which enables the artist to ‘possess’ the person that is portrayed. Aesthetics, pleasure, fantasy and security come into play reminding us of Foucault’s ideas about violence as an exercise of power that negatively affects freedom, and through which the dignity of the other is perceived under a new light. It’s a question of faith, of mutual consensus, but also and most importantly about portraiture as an impossible act.”

(Paco Barragan)

DANI MARTI - ‘Time’, 2013, – detail – galvanised and stainless steel scourers on aluminium frame, 250 × 370 × 40cm
BLACK SUN
2016
SLOW SHOW
2015
Dani Marti, ARMOUR, ‘Folly of Fear’, 2012–13, rope, rubber and leather, 340 x 170 cm diameter,
ADELAIDE BIENNIAL
DARK HEART
2014
DANI MARTI - my sad captain (take 2), 2011, polyester, glass bead, 210 x 10cm diameter
AND THAT'S IT
2011
DANI MARTI- infanta magarita (take 1 and 2) nylon, polyester and plastic ball chains on wood 190 x 125 x 7 cm
MISCELLANEOUS
1963Born in Barcelona, Spain 
1978-9Ramon Gomis, studies in tapestry technique, Barcelona, Spain
1982-8MBA, Esade, Barcelona, Spain
1990-1
Diploma Fine Arts, Julian Ashton Art School, Sydney
1991-2

Fine Arts course, Art Students League, New York

2000Master of Arts,  College of Fine Arts, University of NSW, Sydney
2006

Master of Fine Arts, Glasgow School of Art

  
 
SOLO EXHIBITIONS
2016Still life in yellow, steel and mandarinsThe University Gallery, University of Newcastle
ice blue, dominik mersh gallery, sydney
black sun, Fremantle Arts Centre, for Perth International Art Festival, Perth
2015Slow Show, GAGPROJECTS | Greenaway Art Gallery, Adelaide
2014RUN, RUN, RUN, Arc One Gallery, Melbourne
2012Against Day, Peloton Gallery , Sydney
Mariposa (Butterfly),Breenspace, Sydney
Book of miracles, Arc One Gallery, Melbourne
2011And that's it, Greenaway Art Gallery, Adelaide
TOUCH; The portraiture of Dani Marti, Newcastle Region Art Gallery, Australia
Book of miracles, Arc One Gallery, Melbourne
2010Bacon’s Dog, Breenspace, Sydney
2009

Insideout, off site venue: 4 Parnie street, GoMA and Glasggay, Glasgow
Time is the fire in which we burn, Arc One Gallery, Melbourne

2008One breath below consciousness, Breenspace, Sydney
2007

Glitering Shadows, The Studio, Glasgay Festival, Glasgow
Closer, Arc One Gallery, Melbourne
Off my noodle, Live Sites, Newcastle Region Art Gallery and Newcastle City Council, NSW

2006

Dark Bones, Citric Gallery, Brescia, Italy
The Seven Pleasures of Snow White, Sherman Galleries, Sydney

2005

There is nothing at the end of the rainbow, Arc One Gallery, Melbourne
Variations in a Serious Black Dress, Viewing Gallery, Sherman Galleries, Sydney
Orifices 2000–2004 and Looking for Felix 2000, Newcastle Region Art Gallery, NSW

2004-5

Variations in a Serious Black Dress, Canberra Contemporary Art Space, Canberra, travelling to Hazelhurst Regional Gallery, Sydney; Port Macquarie Hastings Regional Gallery, NSW; Bathurst Regional Art Gallery, NSW; Albury Regional Art Gallery, NSW; La Trobe Regional Gallery, VIC; Monash University Art Museum, VIC

2004

Looking for Rover, Sherman Galleries, Sydney
Orifices 2000–04,The Esplanade – Theatres on the Bay, Singapore

2003

Variations in a Serious Black Dress, Room 35, Gitte Weise Gallery, Sydney
Portrait of a young man returning a ladybird to the grass, Arc One Gallery, Melbourne

2002

Blue angels, Galeria Alejandro Sales, Barcelona
Mother is crying, Briefcase Project and Block, Sydney

2001

You make me feel like love, peace and happiness, Gallery 4A, Sydney
I am forever blowing bubbles, Room 35, Gitte Weise Gallery, Sydney
missing spain, Casula Powerhouse Arts Centre, Sydney
Enhance Systems and Orifices,Span Galleries, Melbourne
Jamón, La Capella, Barcelona

2000

Thin Wall PB-I,Artspace, Sydney
Coco, Rubyayre Gallery, Sydney
Sorry I just dropped my guts, The Lounge, Casula Powerhouse Arts Centre, Liverpool, Australia
Looking for felix, Firstdraft Gallery, Sydney

1999

WS-S#, Room 35, Gitte Weise Gallery, Sydney

 
SELECTED GROUP EXHIBITIONS
2016immerse, sandneskulturhus, sandnes , norway
collected ii, wangaratta art gallery, vic, australia
incandescence, grace cossington smith gallery , sydney
linescapes, gatackers art space, maryborough, qld , australia
2015

Obey!,  curated by Paco Barragan , Centro Cultural Matucana 100,  Chile
LOOP, Video Art Festival, in collaboration with  Pinkcourtesyphone, Barcelona, Spain
Video Stage- Art Stage Singapore 2015, curated by Paul Greenaway, Singapore
Cementa 15,  Kandos, NSW, Australia

2014

Adelaide Biennial, Gallery of South Australia
Your Nostalgia is Killing Me!, Gallery of Modern Art , Brisbane, Australia
One from none: the minimal aesthetic in art , Newcastle Art Gallery, Australia
Nervous Tension, curated by Anabelle Lacroix,  Careof , Milan,  Italy
Scanlines, DLux Media, @ Brenda May Gallery, Sydney

2013

Fractions,  PINTA Art Fair, video exhibition curated by Octavio Zaya, New York
Blake Prize of Religious Art,  College of Fine Arts, Sydney
Videonale-14, Kunstmuseum Bonn, touring to Moscow during Moscow Biennal.
ECONOMY, CCA  Glasgow, and Stills, Edinburgh, UK
From Madona to Madonna, DA2 , Salamanca, Spain
Marked, Cessnock Regional Art Gallery, Cessnock, NSW, Australia
DLUX Deluxe Editiions #1, Woolongong City Art Gallery,  Rockhampton Art Gallery, Australia
OPEN 100,  Artangel, UK
Fleurieu Art Prize, SA, Australia
Woollahra Small Sculpture Award, Sydney

2012

Summer Exhibition, Lausberg Gallery, Toronto
Silver 1987-2012, Wangaratta Art Gallery, VIC, Australia

2011Group Show, Breenspace, Sydney
Lets the healing begin, IMA, Institute of Modern Art, Brisbane
INHABIT, Third floor, building 2, 92 White Post Lane, London
Art of the Ordinary,  Arc One Gallery, Melbourne
Espiritu de Epoca, Una Decada de Pintura, MIAC, Lanzarote
Highly Strung, Peter Potter Gallery, Scotland 
2010

Social Documents: The Ethics of Encounter, Stills, Edinburgh
CinemaX: what I like to watch, MOCCA, Toronto
100 YEARS: Highlights from the University of Queensland Art Collection, Brisbane
Vocal Thoughts, CACSA, Adelaide
Cine the Barrio: La Velada de Santa Lucia, Maracaibo, Venezuela
Hands On, Hazelhurst Reegional Art Gallery, Sydney

2009

Non Age, Kunstalle Winterthur, Zurich
Runing Time: artists films in Scotland: 1960 to now, Scottish Gallery of Modern Art, Edinburgh
Biennal de Lazarote: Energy, Crisis, Creation, MIAC, Lanzarote, Canary Islands
Ou va la video?, Kaunas In Artm Lithuania, Tina B festival, Prague; Palazzo Ducale, Genova.
The University of Queensland National Artists' Self-Potrait Prize 2009, UQM, Brisbane

2008

New, The University of Queensland Art Museum, Brisbane
50x50,
Arc One Gallery, Melbourne
Jam,
Peloton, Sydney
IDENTIDADES: Arte y sexos,
Sala Astragal, Gijon, Spain
Festival SOS 4.8,
Dept. of Culture Region Murcia, Spain
Gifts to the collection,
Newcastle Region Art Gallery, Newcastle, Australia
Glasgow International,
GI 2008, Glasgow
Australian,
Casula Powerhouse, Liverpool, Australia
Plastic Theory,
Peloton, Sydney

2007

M.A.S.H. Expanded Painting, coinciding with Miami Basel, Miami
Trouble with the weather,
UTS Gallery, Sydney
Cornice Art Fair, Venice
He dominates all,
Black Box, Puerto Rico

2006-7

Strange Cargo: Contemporary Art as a State of Encounter, Newcastle Region Art Gallery, Newcastle, NSW, touring regional galleries in NSW, VIC and QLD

2006

Tomorrow Now, Foundation Bevilacqua Lamasa, Venice
The Projection Room,
coinciding with the Liverpool Biennale, Liverpool
A man's world,
Museum of Brisbane, Brisbane
Love Video 2006,
Gallery Sad- Artunison-, Moscow
VADS Festival Internacional de Video i Arts Digitals,
Girona
Iondromo Film Competition,
M+B studio, Venice
Goods to Declare: MFA International,
Bezalel Art School, Tel Aviv
Celeste Art Prize, Goldsmiths University of London, The Old Truman Brewery, London
Marks and Comments, MFA degree show, Tramway, Glasgow and MoCa, Roskilde, Denmark
Gridlines, Newcastle Region Art Gallery, Newcastle NSW
Il Premio Internacional de Pintura de Castellon, Fundacion Astroc, Madrid
SCREAM Sounding Images, in collaboration with Diana Simpson, CalArts, Los Angeles

2005

POST, Residence Gallery, London and Castlefield Gallery, Manchester
Il Premio Internacional de Pintura de Castellon,
Espai, Castellon
Glad Wrap-up,
Sherman Galleries, Sydney
VAD Festival Internacional de Video i Arts Digitals,
Girona
Academy Now!,
sound collaborations with Diana Simpson and Vivian Barty-Taylor, Royal Scottish Academy of Music and Drama, Glasgow
Good and gruseom,
CCA Student Lab Night, CCA, Glasgow
Arafura Craft Exchange,
Museum and Art Gallery of the Northern Territory, Darwin
New Town Pasadena,
in collaboration with Diana Simpson, Armory Centre for the Arts, Pasadena, CA
Nuit Blanche,
Paris

2004

One Of: Festivus 04, Sherman Galleries, Sydney
PistilsI Petals,
Pundacio Espais Conteporanis, Girona

2003

Festivus, Sherman Galleries, Sydney
Summer Show,
Arc One Gallery, Melbourne
25 years of Mardi Gras, Tin Shesd Gallery, Sydney
Home Sweet Home: Works from the Peter Fay Collection, National Gallery of Australia, Canberra
The Canberra Contemporary Art Space and The Arts Store Award 2003, CCAS, Canberra

 
SELECTED AWARDS
2013NSW Artist Grant
2011Creative Scotland, professional development grant
2010Residency at Stills Gallery, Edinburgh
New York Studio Residency for 2012, Australia Council for the Arts
2009

Gallery of Modern Art residency in conjunction with Gay men's Health, Glasgow

2007

Newcastle Regional Gallery residency, Newcastle, Australia

 
COLLECTIONS

Art Gallery of South Australia,  Adelaide, Australia
MUSAC, Leon, Spain
MCA, Museum of Contemporary Art, Sydney, Australia
Careof, Milan, Italy
The University of Queensland Art Museum, Brisbane, Australia
Chartwell Collection, Auckland City Art Gallery, Auckland, New Zealand
University of Wollongong, New South Wales, Australia
Newcastle Regional Art Gallery, New South Wales, Australia
Penny Clive Collection, Detached Gallery, Tasmania, Australia
Art Bank, Sydney, Australia
Wangaratta Art Gallery, Victoria, Australia

Oscillating between hopefulness and failure, Dani Marti’s work is hinged to a representational paradox. For on the one hand it presupposes belief in the act of portrayal, and on the other hand it tacitly admits portraiture’s inevitable failure to accurately capture. But whether working in the medium of weaving or video, his relation to his subject is consistently fixed: an obsessive, laborious, and often desire-driven attempt to represent something of his subject that is beyond appearances. Something of a deep-rooted lust between him and his subject, something of an essence, something, in other words, beyond surface. But it is surface—quite literally—that we as viewers are left with in Marti’s work, whether in the abstraction of a large-scale weaving or in the flat documentary-style his videos take. There is no invitation to anything deeper than its screen, nothing objectively closer to ‘the real’ other than what one chooses to see and read into it.

Although Marti’s large-scale, woven works invite associations to Minimalism through their cool, reductive, and often literal approaches to material, his process adheres more closely to the precursor of that art historical moment; to more expressionistic ways of working. His relationship to the characters he portrays, whether intimate friend, stranger, or icon is an emotional one that becomes ritualized through both his methods of working and the claustrophobic proximity, which he develops to his subjects through his attempts to portray them. But due to the formal restraints he places upon himself as an artist, through the materials he chooses and the histories that are attached to them, emphasis becomes transferred from expression to the mediated nature of representation. To view his work is to be faced with information that has been rendered through its vital attachment to Marti himself, but it is presented to the viewer codified. Marti’s work is thus an explicit reminder that viewer subjectivity is the only place where the portrait can truly be generated. His gestures toward it are merely our starting points.

Lois Rowe

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