MUTEK opened the call for its 2026 Montréal edition this summer. Founded in 2000, the festival has become one of the defining international gatherings at the intersection of electronic music and digital art — a program of live audiovisual performances, immersive installations, and its MUTEK Forum, a conference on the ideas and technologies shaping digital creativity. With sister editions across several continents, MUTEK is as much a year-round network as an event, and its open call invites musicians, audiovisual performers, digital artists, and researchers to take part.
Where sound and digital art actually meet
Much of this site’s community coverage skews toward the visual-art and technology worlds; MUTEK is where that world overlaps with electronic music and live audiovisual performance. Its programming has long treated sound and image as a single practice — live-coded visuals synced to techno, immersive audiovisual installations, performances built on custom software and hardware — which makes it a natural home for the kind of cross-disciplinary artists who don’t fit neatly into a “music” or “art” box. For readers working across the site’s music-technology and creative-coding beats, it’s one of the more relevant places to show work and find peers.
The Forum, and how to approach the call
Alongside performances and installations, MUTEK Forum brings together artists, technologists, and thinkers for talks, workshops, and professional exchange on the direction of digital creativity — a genuine reason to attend even for those not performing. As with the other open calls this site tracks, prospective applicants should review the current edition’s categories, deadlines, eligibility, and any fees on the MUTEK site, and study past programs to understand the festival’s audiovisual, experimental sensibility. It sits alongside Gray Area, Transmediale, and FILE as a key node in the international art-and-technology calendar, distinguished by its deep roots in electronic music.