Friday, February 03, 2017

Table - Edited by Dell Stewert

Table is a new from publication (True Belief) edited by Dell StewartWith contributions from Margaux WilliamsonSarah Weston, Amy Vuleta, Anna VarendorffManon Van Kouswijk, Meredith Turnbull, Nat ThomasDell StewartTai SnaithDylan MartorellRachael HooperKelly FliednerNic DowseAdam Cruickshank.  201 96 pages / full colour / perfect bound / soft cover / dust jacke

ISBN 978-0-9871705-7-6

Dylan Martorell, Table top  
Dylan Martorell’s tables, and the objects upon them, engage with a world and a language familiar to all of us, borrowing from the sphere of objects necessary to, or found within, the home. They are the objects we live with and use everyday: succulents in pots, rocks, sand and rope from the garden; bananas, potatoes, corn cobs and kernels, and other foods; bowls, cups, empty tins and cans, plastic trays, containers, vases and wine goblets, as well as other articles from the kitchen. These sit next to, below or on top of objects (perhaps more usually) used in the creation of art, music and performance: speakers, musical instruments (intact and dismantled), amplifiers, earthing wires, circuit boards, usb sticks, stationary, beads and clay. Woven amid all of these formations are pieces of discarded rubbish, waste material, plastic, detritus and refuse from both the home and the studio. 

Self-sufficient and contained, these are fleeting assemblages and one off conglomerations formed for an exhibition or event, chained to that time and that space. For one moment Martorell’s collected objects, come together as microcosms atop make shift counters and card-tables. They are repurposed and ready to be played, to generate sounds and to create music. Site-specific, these works, such as the Kochi studio table top (2015), engage with their surroundings, by scavenging objects from, or evoking the histories of them (in this instance, narratives of past residents and of past uses as a site of international spice trade). After, the works are pulled apart, dismantled and released back into the world for another arrangement at a later date. 

Martorell’s tables suggest both functionality and contemplation. The nature of his assemblage and the act of bringing together is transformative. A functional object, such as a glass used for drinking, becomes a vessel for the creation of reverberating sound, while in conjunction with other glass objects, becomes a sculpture that reflects light, gathering a formal aesthetic appeal. Here the table becomes the point of transformation, whereby objects that are intended to be played are also to be looked at; objects to be heard are also to be touched. There is a collapsing of distinction from object to performance, from sculpture to music, and further slippage back and between the two as the work is activated and deactivated by utility and performance. 

Within the context of the exhibition space, Martorell’s works are often self generating, kinetic assemblages that create acoustics riffing off the natural ambiance of the room, activated by the audience, or are simply left idle—as idols—for the duration of opening hours until they are next animated by some event or performance. Martorell creates spaces that are sites of flux, where the potentiality of a work is unclear but present. If these inactive works were encountered within the space of a gallery, or as presented here within these pages, as mere sculptural documentation, the audience will likely still understand that by virtue of their work-bench nature, their intimate aesthetic and their inclusions of objects like speakers and conductors, that they have the potentiality for performance. 

Through this potentiality Martorell’s tables become delineated stages and receptacles of latent energy. Like a dinner or kitchen table, through the ritual of its daily activation, the works take on an aura that is more than the sum of their parts. Just as the kitchen table is activated at regular daily intervals with conversation and action, these table tops become platforms for the process of ritual and storytelling. The kitchen table is the site where we habitually return to consume, converse and therefor narrativise our existence. And so too, do Martorell’s tables demand a certain amount of time in order to create sounds and synchronise with their surroundings, becoming a space for the audience to connect and project through either expected or recently consumed performances. They become a space where the audience encounters bordered events, creating moments of ‘off’ and ‘on’, connecting to the circadian narratives of home and life.

If the table is a border and a stage, it is also a frame. And as a title can effect the reading of a work, so too the table as a frame revises the collection upon it. Here the table becomes a necessary agent or focal-point within the collaboration, or conversation between artist, audience and object. Not so much in the definition of their use, but perhaps as a useful way of telling us what they are not: ‘these glasses stacked here on this table are not for ‘drinking’, they are for ‘playing’’; or, ‘this piece of tube and concrete is not merely a forgotten remnant, but part of this orchestra of objects’. By virtue of its boundaries, thetable facilitates the conversation, anchoring otherwise floating objects. Likewise, perhaps Martorell’s practice, which includes many ongoing and one-off collaborative arrangements, requires the table for conversation—to draw out or define the terms of those collaborations. 

These modes of bordering, staging and framing are not to undermine the complexity and often messiness of Martorell’s tables, which perhaps reflect the frenetic environment of the home (or at least some homes) as a place that juggle the needs of multiple family members. Martorell’s works evoke these multipurpose spaces that slip between utility and work, leisure and relaxation, while evoking a history of art within the domestic sphere. They function as cultural criticism and depict how the creative and poetic image can gather all the complexity and chaos of a historical moment.However there is rhythm to their chaos, an internal logic to the formal and aesthetic decisions of each assemblage, as well as a particular politic expressed through the selection of such domestic, up-cycled and scavenged objects that finds confluence upon the table top. The table tops becomes a political commitment that is not indifferent to their aesthetic, but one that makes comment upon the disenfranchisation of art made within the home (predominantly by women), of climate change and the environment, and of the movement and circulation of people and materials around the world. 

Through Martorell’s interest in the politics of collaboration and recycling, environmental sustainability and cultural exchange, there is a considered understanding of the complexity of labor. Present is the knowledge that in the creation of an art object, there is a history of practice and making that become the tools of that design, and for Martorell that is expressed not just in the language of selected found objects and the history of the readymade, but in the posture, performance and action of the artist in relation to the object, with an interest in narratives that level hierarchies that relegate the domestic as inferior, and, in the ethos of recycling commercial products and materials. Here, sedimented within the image created on the table top are the details of those various histories of politics and art. 

more details here

Seen and Not Seen - Lamington Drive

Seen and not seen is a production studio for audio-visual collaborations between Dylan Martorell and various members of Melbourne’s music and video art scene. Collaborators include Spinach Triangle, Hessian Jailor, James Grant, Benjamin Hancock and Lichen Kelp as well as members of Ambulance, Judo Bronze and Amphibious Vehicle.

The open studio format will allow the public to witness the often unseen creative act of music and video production in its various phases of creation. Viewers are encouraged to drop in during gallery hours throughout the exhibition to view the work in progress from day one – Wed Oct 26 – before the results of Martorell’s various music video workshops and collaborations are unveiled during the public event two weeks into the project – Sat Nov 5 – for an open afternoon of video viewing and live performance.
***Public event and performances Saturday November 5, 2-5pm.

Kelp Martorell Seen and Unseen 1 from dylan martorell on Vimeo.

Live performance video stills Matthew Brown, Lichen Kelp, Lichen Kelp and Oliver Hextal

Handmade instruments, improvised choreography, robotics and DIY electronics will be combined with green screen video, various sculptural props and primitive special effects to create a series of music videos onsite with this impromptu collective of practitioners. The remnants of the music videos will make up an accumulative installation. Album cover artwork will adorn the walls and a number of screens will feed back the finished artworks as they’re produced.

Monday, November 02, 2015

The Company of Strangers - Gallery at Bayside

This exhibition presents and explores the aspect of the polymath in Percy Grainger's personality and in those 
of contemporary Australian practitioners. John Brooks, Dylan Martorell, Alasdair McLuckie, Rebecca Monaghan, 
Darren Sylvester and Kate Tucker have each responded to objects held in the Grainger Museum, 
producing tactile works that push the boundaries of popular aesthetics and social norms.  

The Gallery at Bayside Arts and Cultural Centre
Corner Carpenter and Wilson Streets,
Brighton, VIC, 3186
03 9592 0291
Weds to Fri 11am - 5pm, Sat and Sun 1pm - 5pm
- See more at:

From The Collection Benella Art Gallery

From the Collection: Gertrude Contemporary Regional Residencies, Chapter ThreeArtists: Sarah crowEST, DAMP, Nathan Gray, Dylan Martorell
Curated by Emily Cormack
Benalla Art Gallery
Botanical Gardens
Bridge Street, Benalla, Victoria 
Exhibition Dates: 5 September – 25 October 2015
Opening Celebration: Saturday 5 September 2015, 2-5.30pm
Gertrude Contemporary is pleased to present From the Collection: Chapter Three at Benalla Art Gallery, which is the third and final exhibition in the From the Collection series. This series of exhibitions has seen eighteen of Australia’s most innovative contemporary artists explore the permanent collections of three regional art galleries (previous venues are Warnambool Art Gallery and Latrobe Regional Gallery), using them as a starting point for twelve major new art commissions. For Chapter Three of the project, curator Emily Cormack has invited artists Sarah crowEST, Nathan Gray, Dylan Martorell, and artist collective DAMP to respond to Benalla Art Gallery’s collection.
Each of the selected artists has ventured into the vaults of the Benalla Art Gallery, spent time in the region, and in the process have uncovered a wealth of artworks and objects that they have then transformed and embedded into their own practices. DAMP has selected works from the BAG collection to be reconfigured as paintings on the surfaces of ceramic vessels. The seemingly simple transposition of a painting from canvas to ceramic is complicated by a gesture of violence: first, DAMP smashes the ceramic object, then they paint its broken pieces, and finally they reconstruct the ceramic object to produce a ‘subjective interpretation’ of the original artwork. crowEST has made a series of Ned Kelly-esque costumes (comprising masks, smocks and collars) inspired by works from the BAG collection, including The Lady in Pink by William Dobell, Beach Scene by Clarice Beckett, and Listening by Danila Vasilieff. Gray has produced a performative sound artwork by treating the object files in BAG’s collection database as a score that has the potential to be enacted. And Martorell has created interactive sound sculptures that sonify paintings from the BAG collection that he considers to be in some way already ‘noisy.’ Martorell’s selection includes paintings by Sally Smart, Turkey Tolson, Siri Hayes, and Robert Jacks.
In contrast with the previous two chapters of From the Collection, this exhibition specifically invites the viewer to physically engage with the artworks—focusing on ideas of play, improvisation and the handmade. For instance, DAMP will present a ceramic painting workshop where audiences will have the opportunity to make their own ceramic sculptures and potentially display these alongside the artists’ works (more details below). Visitors to the exhibition will also be invited to try on crowEST’s collection of hoods and tunics, which feature text and imagery lifted from works in the collection.
The artists in Chapter Three build instruments, write scripts, compose scores, make sounds, sew costumes, and paint ceramics—all offering multiple opportunities for visitors to Benalla Art Gallery to explore their own expressions of creativity, and to rethink their local art collection.
Public programs on Saturday 5 September 2015:
12-2pm — Ceramic painting workshop with artists collective DAMP (Bookings essential on 03 5760 2619. For ages 15+)
2pm — Exhibition tour with Gertrude Contemporary curator Emily Cormack
2-5.30pm — collaborative durational performance by Sarah crowEST and Nathan Gray
4 - 5.30pm — Exhibition opening. Guest speaker Emily Cormack, Curator, Gertrude Contemporary 
Public programs on Sunday 6 September 2015:
12-2pm — Ceramic painting workshop with artists collective DAMP (Bookings essential on 03 5760 2619. For ages 15+)
From the Collection is supported by the Victorian Government through Creative Victoria. This project has also been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. This project also received development funding from the National Exhibitions Touring Service (NETS) Victoria.
RSVP: Wednesday 2 September 2015
+61 3 5760 2619 or
Media release here.

Eye - Score : The Audible image


Tue, 22 Sep 2015 - Sun, 1 Nov 2015
Town Hall Gallery, 360 Burwood Road,
Hawthorn, VIC 3122
Open your eyes to the sight of sound in an exploration of the auditory impact of the visual arts. Eye-score: The Audible Image looks at artworks that trigger a feeling of sound in the viewer. Whether evoking the memory of music, hinting at compositional rhythms or stimulating impressions of noise, these artworks activate multisensory responses.
There is no sound in these works, only the visual indication of it. Not unlike synaesthesia, the condition by which the ‘sufferer’ hears vision or sees sounds, this exhibition presents artworks that look like they sound, and sound like they look.
Featuring John Aslanidis, Angela Cavalieri, Carmen Chan, Catherine Clover, Michael Graeve, Dylan Martorell, John Nixon and Danae Valenza.
Image: ASLANIDIS, John, details from Sonic Network No. 15 (2014), oil and acrylic on linen, © Courtesy of the artist and Edwina Corlette Gallery.

Sunday, March 22, 2015

The Guiguis New Art Prize 2015

The Guirguis New Art Prize (GNAP)



Sat 11 Apr - Sun 31 May 2015



The Guirguis New Art Prize (GNAP) is a $20.000 national, acquisitive, biennial,

contemporary Art Prize administered by Federation University Australia's Arts

Academy Initiated and generously supported by local Ballarat surgeon Mr Mark

Guirguis,this prestigious Art Prize showcases a selection of Australia's most exciting

 contemporary artists in Ballarat, Victoria.

In 2015, the major award of $20,000 will be presented to the winning artist

for the most outstanding single work of art from a pool of 15 Australian

shortlisted finalists' presented in an exhibition at the Art Gallery of Ballarat

and FedUni's Post Office Gallery, Ballarat from Saturday 11 April to Sunday

31 May 2015.

The list of GNAP15 finalists are Chris Barry (VIC), Chris Bond (VIC),

Teelah George (WA), Julie Gough (TAS), Louise Hubbard (VIC),

Susan Jacobs (VIC), Jess Johnson (VIC), Ross Manning (QLD),

Dylan Martorell (VIC), Pilar Mata-Dupont (WA), Kate Mitchell (NSW),

Dominic Redfern (VIC), Mark Shorter (NSW), Conrad Tipungwuti (NT)

and Jemima Wyman (QLD).

The Art Gallery of Ballarat and Post Office Gallery will be open from 10am

 to 5pm daily. Entry is free.

GNAP is presented in association with the Art Gallery of Ballarat.

Monday, March 16, 2015

Slow Art Collective (Chaco Kato, Dylan Martorell) Edgar Hechavarria Ricardo, 

students from Castlemaine Secondary College

LoomÅ«sica is the Castlemaine State Festival’s signature arts mentorship 

project bringing together Slow Art Collective, Cuban artist Edgar 

Hechavarria Ricardo, and students from Castlemaine Secondary College. 

Together they will create a site-specific installation that honors the 

manufacturing history of the former Castlemaine Woollen Mills.

Utilising re-purposed materials found on site and incorporating 

kinetic sculpture, robot components and basic DIY electronics, 

LoomÅ«sica plays with the notions of loom and harp.

more information :

the object as score - margaret lawrence gallery VCA

The Object As Score




Sean Baxter, Matthew Day, Nathan Gray, Helen Grogan, Laresa Kosloff, Igor Krenz, 

Dylan Martorell, Stuart Sherman, Charlie Sofo, Torben Tilly, Danae Valenza with 

performances by Ernie Altoff, Sean Baxter, Arini Byng, Matt Day, Helen Grogan, 

Shelley Lasica and Katie Lee, Joel Stern. Curated by Nathan Gray.

Identifying a strand of thought in local and international interdisciplinary art

making, The Object as Score presents works that recognise the potential objects

might hold for action and interaction. The Fluxus artists, as students of John

 Cage, utilised the simple written score that he had developed with 4’33” –

 his silent work, which consists of the musical term ‘tacet’ (to wait) as the

 sole instruction for each movement. The Fluxus 'event score' was a direct

development of the written notation of 4’33”that used the brevity and

potentiality of language as a compact method of transmitting

ideas for performance. It was the multivalence of language that

allowed these performances to be open,indeterminate or even

impossible. Using the object as a score in sculpture, contemporary

improvised music and performance at large, this exhibition does not

explore language as a medium for the transmission of open performance

works, rather it employs the object as stand-in for the written score,

recognising it as a provocation for action.

Events and performances

Friday 6 March, 12.30 pmSean Baxter – Schmelzwerk

Torben Tilly – artist floor talk

Saturday 7 March, 2:30 pm Matthew Day - Weighting (2015)

Ernie Althoff

Helen Grogan – CONCRETE ROOM (2005-) and LIGHT (2003)

Saturday 14 March, 2:30 pm  Matthew Day - Weighting (2015)

Saturday 21 March, 2:30 pm  Matthew Day - Weighting (2015)

Arini Byng - Ready for the House

Joel Stern

Shelley Lasica and Katie Lee – Possibility of Performance

Saturday 28 March, 2:30pm   Matthew Day - Weighting (2015)

40 Dodds Street
 Southbank VIC 3006 Map

Gallery Hours

Tuesday - Saturday

12pm - 5pm

Sunday, October 26, 2014

M Pavillion / One Night Stand

One Night Stand

Slow Art Collective, ‘Leaf House Music’ installation


Free! Sun 2 Nov 2014–Sun 9 Nov 2014, during opening hours


Slow Art Collective, ‘Leaf House Music’ installation
Sun 2 Nov 2014–Sun 9 Nov 2014, during opening hours


An art installation usually happens quickly—one day it’s not there, the next it’s installed. But Slow

Art Collective, represented here by Dylan Martorell and Chaco Kato, are interested in the act of

making. Over the course of a week they’ll be gradually gathering plant debris from MPavilion’s

 parkland setting to create an indoor installation.

Leaf Art Music is part of One Night Stand, a series of events that respond to MPavilion’s transient,

temporary nature. These live artworks, ambient installations and sonic lullabies provide spaces for

 everyone to pause, rest and connect. And they explore the wonderful potential of the night—for

romance, refreshment, dreaming and star-gazing.

With Performances by VDO / Tim Coster / Dry Mouth (?) / 


Snawklor TBA

Instrument Builders Workshop . NGV.

NGV Studio hosts the first Australian iteration of The Instrument Builders Project
(IBP), an experimental collaborative project between Australian and Indonesian
artists and musicians curated by Kristi Monfries and Joel Stern.
The first two iterations of the IBP were held in Yogyakarta in June 2013 and March
2014. The IBP sets up a shared workshop space, with elements of studio and
gallery, in which artists conceptualise, build, perform and exhibit new works
together over a period of 4 weeks, with scheduled public programs (concerts,
exhibitions, workshops and talks) punctuating periods of experimental 'free time'.
The works created through the IBP draw on both traditional craft-based and
avant-garde approaches and technologies, incorporating practises including
(but not limited to) experimental music, sound sculpture, installation, conceptual
and instructional work and performance art.

The IBP both responds to and seeks to further develop experimental collaborative

work between Indonesian and Australian artists.

Studio residency artists

Michael Candy, Dale Gorfinkel, Lintang Radittya, Andreas Siagian,

Wukir Suryadi, Pia Van Gelder, Tintin Wulia

Exhibiting artists

Peter Blamey, Mas Wibowo, Michael Candy, Caitlin Franzmann,

Dale Gorfinkel, Jompet Kuswidananto, Dylan Martorell, Andreas Siagian,

Wukir Suryadi, Tintin Wulia, Asep Nata

The Instrument Builders Project is supported by Asialink Arts and Arts Victoria. 

more details re; performances etc here

Saturday, October 18, 2014

Utopian Slumps - 25th of October - Project Room - Dylan Martorell - Fraxinus Ash Scores / Illuminator

Solar Action #1 and #2 from dylan martorell on Vimeo.

00011 from dylan martorell on Vimeo.

Solar Shattered Bohemian Crystals / Music from Plant Algorithim Music Scores 

        Music from Fraxinus Ash graphic scores. Performed by James

        Rushford, Joe Talia and  Dylan Martorell. Recorded by Sam Karmu and

        Joe Talia.


Address: 33 Guildford Ln, Melbourne VIC 3000

Phone:(03) 9077 9918

Hours: Wed—Sat 12—5pm during exhibition period

other times by appointment