Martijn Tellinga's artistic work occupies an intermedium between spatial installation, music composition, and durational performance. Drawing on both concert and exhibition practice, it engages site, sound, instrumentalism, scores, moving image, telematics, movement, the temporal and the textual within iteratively evolving gallery or intervention settings. His works often inquire into aleatoric modes of repetition and spatiality to drive an evental aesthetics, posing situated reflections on the rudiments of form and formation, and the (inter)subjective production of our sense of self and environment. Through mobile and open form composition processes, and durational strategies of deceleration and slow encounter, he aims to address questions of agency and mediation across generative situations of a diverse materiality. In these commonly rule-based settings, indeterminacy and performativity function as devices to expose the ambiguity of system, and to speculatively evoke idiosyncratic and asynchronous dynamics depicting a world defined by difference, irregularity, and reinterpretation. Consistently building on principles of multiplicity, Tellinga's works undermine the notion of a central perspective, commenting the socio-cultural situation pertaining standardisation and chrono-normativity.

 

Gradually moving from concert hall to exhibition space, he has crafted a highly personal expanded practice which interprets concepts and strategies of experimental composition in relation to the visual, the architectural, the choreographic, and writing. Through such ‘speculative musical spaces’ he proposes how notions of musicality can mutually inform and be informed by evolving mediums and situations, and function as generative and experiential devises beyond sound and the concert setting. Guided by such ideas, he produced performance works which repeatedly dismantle and reassemble an instrumental concert setting over extreme durations, (performative) sound installation work which investigates the part-scientific part-poetic practice of on-site resonance tuning, and documentary pieces that expand upon methods of acoustic measurement as intervention style negotiation of locality. More recent work develops both a critical and poetic stance on technologically mediated contemporaneity and stages a radically slowed-down silent choreographic construct between 2 - 4 individual performers conducting strategies of slowness and stillness to induce and equally protest a system of expanded video telematics.