[4] His compositions have been performed in more than a dozen countries,[5] at such venues as the Experimental Sound Gallery Saint Petersburg,[6] Galerie Mark Müller,[7] Glenn Gould Studio,[8] Goethe-Institut Amsterdam,[9] Grote of Sint-Jacobskerk,[10] Hafnarborg,[11] ISSUE Project Room,[12] Kid Ailack Art Hall, Kunstmuseum Villa Zanders,[13] Kunstraum, Magna Plaza, Maison des Jeunesses Musicales,[14] SMART Project Space, St Anne and St Agnes,[15] The Stone,[16] REDCAT,[17] and at festivals such as Ostrava Days,[18] November Music,[19] Dark Music Days,[11] Transit,[20] the ISCM Pan Music Festival, and the Amsterdam Wandelweiser Festival.

[26] In 2007, he collaborated with dancer-choreographer Katharina Maschenka Horn to create the performance triptych august 1973, based on painter Francis Bacon's work of the same title.

[27] In the same year, he was invited, along with John Lely, to work with Fluxus artist Ben Patterson to curate a night of performances in Ostrava's Philharmonic Hall.

[36]Daniel Barbiero, writing for Avant Music News, describes a recording of the same piece as an "[embodiment] of an almost metaphysical dialogue between activity and non-activity.

The score of his for louis couperin, inspired by the tradition of the unmeasured prelude, consists of nothing but two rows of numbers indicating the fingerings to be used by a keyboard player.

According to composer and musicologist Daniel James Wolf, [t]he notation in [Taylan Susam's] pieces is radically concentrated, often to just a bit of prose and a field of random numbers or single pitches on staves.

"[43] In contrast with the nocturnes's descending melodic lines suggestive of harmonic modulation, the 2014 piece tombeau, dedicated to the memory of his friend Martijn Teerlinck and commissioned by November Music,[20] consists of slow, downward arpeggiated harmonies, out of which fragments of melody seem to emerge.