With this series, we bring together the experiences and perspectives of women and non-binary people in the music business. In 2025, we take a look behind the scenes and focus on the people beside the musicians. Regardless of quotas, so-called categories or classifications, it takes 100% of us to stand up for feminism to have the greatest impact.
What kind of support have you received in the course of your career? Where would you have liked (more) support?
Wen Liu: So far, I have mainly received support for my projects as a composer and for the management of the multimedia collective Studio M.A.R.S. (Music & Arts Research Science) in the field of opera productions through public funding. Depending on the country of the respective premiere, public funding has been provided in Germany, France and, above all, several times in Austria. We are also part of a project funded by the EU’s “Creative Europe” program.
Above all, I hope that public funding in Austria and the EU will not be significantly reduced. We are living in an extremely uncertain time in which cultural funding is on the brink in many countries. Continuous support for art and culture is essential to enable innovative and critical artistic work.
How and where did you gain your experience in the music industry?
Wen Liu: I am a trained composer and have been working in the field of contemporary music for over ten years. In 2017, I founded the M.A.R.S. festival for contemporary music and art in Los Angeles, which ran for three years. In 2019, I returned to Austria and founded the collective Studio M.A.R.S. to develop multimedia theater and opera productions.
We use technology as a dramaturgical tool and invite the audience to actively immerse themselves in our narratives. With dark humor, absurdity and satire, we create immersive opera experiences that reflect our society – bold, accessible and relevant. In recent years, I have been increasingly active in the opera scene and have worked intensively with opera houses.
“Traditional power structures are still particularly evident in opera.”
What were your biggest challenges and how did you overcome them?
Wen Liu: One of the biggest challenges in my career has been the structure of the contemporary music scene, and the opera scene in particular, which is still very male-dominated. Traditional power structures are still particularly evident in opera.
As the director of Studio M.A.R.S., a multicultural, female-led collective, I work with male colleagues on many projects. However, there are always challenges in terms of power imbalances. It’s not always easy to create a balanced collaboration here.
For our current Studio M.A.R.S. productions, including an opera that was nominated for a prestigious European opera prize, I deliberately put together an all-female creative team. This experience has proven to be extremely positive and has led to an inspiring and productive working environment. Nevertheless, it remains my goal to promote constructive and fair collaboration with everyone involved in the long term.
Which role models do women in the music industry currently have?
Wen Liu: I admire many female composers and directors and have been lucky enough to take part in numerous workshops and discussions across Europe that focus specifically on these topics. I have learned a lot from many inspiring female artists.
I think it’s essential that we support each other. For me, every single female artist who stands up to outdated structures and breaks new ground is a role model. Their commitment and determination are a great inspiration and show how important it is to actively shape change.
“For me, every single female artist who stands up to outdated structures and breaks new ground is a role model.”
How can women and non-binary people support each other and promote solidarity in their professional environment? What can you pass on to the next generation?
Wen Liu: By building networks, sharing knowledge and actively promoting each other, women and non-binary people can support each other. Through workshops, mentoring and open exchange about challenges in the music and opera scene, we can tackle structural barriers together.
I am currently working on a new EU project called HerOpera, which aims to connect female composers, directors and producers. Although we are currently in a difficult time, we must not give up – it is easy to lose hope, but it is even more important that we encourage and support each other. Art and culture have the power to change things.
“‘I’m a feminist!’ – a statement that can be well-intended, but sometimes serves more as a shield than a real discussion of equality.”
What questions are you asked that a man would never be asked?
Wen Liu: In my case, there is no specific question that is asked of me and not of a man, but I often experience certain reactions. For example, I’ve often heard male colleagues say: “You’re too emotional.” I also often hear male colleagues say: “I’m a feminist!” – a statement that can be well-intended, but sometimes serves more as a shield than a real discussion of equality.
Wen Liu is a composer and media artist known for her boundary-pushing works that combine music, visual media, dance, theater and technology to create immersive, interactive experiences. She is the artistic director of the festival M.A.R.S. (Music & Arts ReSound) and the Studio M.A.R.S. (Music Art Research Science), which she founded.
Transalted from the German original by Arianna Alfreds.