Q01 ::: AUDREY CHEN ::: 15.02.2013 ::: BERLIN

Quota ; Unquota

Co-director, co-Dop, DIT, editor, colorist
In 2013, we (Philipp Morris, Julian Bonequi and Jérémie Pujau) produced a series of concerts that focused on female solo performers based in or passing through Berlin. We also conducted an interview with each artist which was filmed, edited and made available online as a necessary archive to document the experimental scen. As well as the online interviews, we filmed each performance from a number of different angles to show better the often subtle movements that cannot be seen by the a live audience.
The purpose of the video documentation of this series is firstly to enlarge the audience of experimental music which complements and enhances the work already carried out by audition records. More precisely we are trying to break down the distance between audience and performer by allowing them to see what can be very intricate machines played in a way that can be concealed from the audience. 
The filming is done in such a way so as to best capture the performative gestures. The video gives an enhanced level of appreciation as the audience have a better understanding of how the sound is made.
Since 2016 we are in the process of editing all the interviews together to tell the story of these artists and their relationship with experimental music and Berlin. The intention of this is to broaden the reach of this sadly underexposed musical form by organising screenings in international film festivals and making it available online of course.
There is a current interest in women in the arts, for example the publicity generated by www.femalepressure.net when they highlighted the unequal representation of females in electronic music festivals where less than 10% of participants were female. We want to investigate that within the experimental music scene in Berlin to see if there was such an imbalance. We want to investigate the wildly varying trajectories the performers took to end up in the same scene in the same city, many working occasionally together. We want to look at the specific barriers to a musical form that entails improvisation/composition, technical abilities with regard to building, maintaining and using novel electronics in a live environment. Finally we wanted to confront the significance of holding a female only concert series.