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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 evoke the idiosyncratic and asynchronous dynamics of 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 current of 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 aims to contribute to a thinking of musicality in terms of the contemporary (art) object, functioning as a generative and experiential devise beyond sound and the concert setting. Guided by such ideas, he produced performance works which repeatedly deconstruct 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. 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 both induce and protest a system of expanded video telematics.
He presented and worked in residence at, amongst others, Ex Teresa Arte Actual - Mexico City, V2_lab for the unstable media - Rotterdam, Rockbund Art Museum - Shanghai, Banff Centre - Banff, Museo Nacional Centro de Arte Reina Sofia - Madrid, LMCC - New York, CAFA Museum - Beijing, Rozenstraat – a rose is a rose is a rose - Amsterdam, Institut de Recherche et d'Innovation - Paris, Errant Sound - Berlin, Spring Workshop - Hong Kong, Muziekgebouw - Amsterdam, conDIT/cheLa - Buenos Aires, SuperDeluxe - Tokyo, Fylkingen - Stockholm, ZKM - Karlsruhe, IMA - Brisbane, Dampfenzentrale - Bern, Headlands Center for the Arts - San Francisco. He articulated his artistic research developing academic courses around the spatial, processual, and environmental modalities of score-based and sound informed practices, teaching at the Central Academy of Fine Arts in Beijing - China, and ArtEZ Academy in Arnhem - The Netherlands. He is one of the curator producers of the long running series DNK Amsterdam and performs with DNK Ensemble. He currently pursues a practice-led PhD at Academy of Creative and Performing Arts at Leiden University, and lives in Amsterdam, The Netherlands.
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