Interview: Mutek founder Alain Mongeau

TOT: For audiences new to Mutek, its mission might seem abstract. How would you summarise what the festival is all about?

Mutek is a festival about digital culture. We began in Montreal in 2000, with a strong foundation in electronic music, but our focus is really on digital creativity. Technology is always moving forward, and Mutek has innovation in its DNA. The name even hints at that: people think ‘music + technology’, but for us, the more important idea is mutation.

We evolve as artists evolve – whether that was the world’s first laptop performance on stage in Montreal, or newer interactive interfaces in the years that followed, like extended reality. Our purpose is to showcase how artists creatively push technology forward.

TOT: Montreal and Quebec are known for their vibrant cultural scenes. How did that environment shape Mutek?

Quebec is like a French-speaking island in North America, much like how Japan is an island. Because of that, there’s a strong desire to protect and nurture local culture, and the government invests heavily in the arts. Montreal has always been a crossroads – Latin, North American, and connected to Europe and Latin America. It’s creative, somewhat bohemian, and historically affordable enough that artists can experiment and live there.

People sometimes ask what’s in the water [laughs]. We don't know, but it’s a very fertile ground for innovation. I often compare Montreal to Berlin in Europe – less corporate, highly creative and internationally connected. Mutek played a role in that ecosystem, helping build bridges between local artists and the world.

TOT: Mutek has expanded to Tokyo, Mexico, Barcelona and other cities. Was that part of a master plan?

Not at all. We never planned to build a global network. After our very first edition, people from around the world contacted us wanting to bring Mutek to their cities. The expansion happened organically, always driven by passionate local teams.

Mexico has now run for more than 20 years, Barcelona for 15, and Tokyo is now celebrating its 10th year. We actually try to discourage people from starting a new edition – it’s hard work, especially now that electronic music is a major industry. You must be a little crazy to start a festival today [laughs].

TOT: What do you find distinctive about Tokyo and Japan’s electronic scene?

It’s difficult to judge a whole scene from five days of a festival, but every year in Tokyo we discover amazing Japanese artists. Even before launching Mutek here, people said, ‘You should be in Japan’ – because Japan’s relationship with technology is so unique. It truly feels like a perfect marriage.

The challenge is that flying artists to Montreal can be expensive. We’d love to present many more Japanese artists abroad. Tokyo constantly inspires us.

TOT: As the director of Mutek, how do you approach artistic curation?

We look for artists who push the envelope, who go beyond presets or trends. In Montreal especially, many performances are premieres: Canada, North America, or even world firsts. Novelty is essential.

When talking about Tokyo, the festival here is a lot more streamlined, while also offering a broad panorama of artists from conceptual or experimental sound projects to some elements that are more dancefloor-friendly – the festive element is part of the festival.

Another key principle: Mutek is about live performance. Out of 100 acts, maybe only six are DJs. Nothing against DJs, but we focus on artists as creators – where electronic music intersects with contemporary art and experimentation.

TOT: Are there emerging technologies you’re especially excited about?

AI has been everywhere these past years, and we’ve shown artists who use it creatively as a tool – not just following the hype. The next big thing? Quantum technology. We don’t yet know its artistic implications, but it’s developing fast, and some artists are already exploring it.

What’s important is that Mutek doesn’t chase buzzwords; we observe where technology leads and where artists take it – often in surprising and interesting directions.

TOT: What future developments do you see in collaboration with local governments and the creative scene here?

Mutek Tokyo is managed by the local team, so I can’t speak directly to funding, but I hope they secure more support. In Montreal, funding comes from arts councils, tourism and the creative industry. Even then, it was about taking baby steps and slowly gaining recognition through awards like the Grand Prix from the Conseil des arts de Montréal, which we gratefully received twice in 2009 and 2020.

The combination of funding and recognition allows the festival to thrive. Japan has a great environment for the festival; it’s just a matter of resources.

Mutek was an attempt to nurture the creative, experimental and utopian spirit of digital creativity – giving back to a culture that had given me a lot, and that’s why, from the very start, Mutek has placed authenticity above commercialisation.

As an independent, non-profit festival, Mutek continues to prioritise supporting artists and fostering creative communities. I sense that the Japanese are eager to cultivate authenticity, which seems to be very important here. That’s what makes [Tokyo] a really great place to be.