Mieko Shiomi (composer)

Mieko Shiomi was born in Okayama, Japan. She began music lessons as a child and studied music at Tokyo University of the Arts in 1957 under composers Yoshio Hasegawa and Minao Shibata, graduating in 1961.{{Cite web|last1=Kokatsu|first1=Reiko|last2=Sakagami|first2=Shinobu|date=24 June 2013|title=日本美術オーラル・ヒストリー・アーカイヴ/塩見允枝子オーラル・ヒストリー|url=http://www.oralarthistory.org/archives/shiomi_mieko/interview_01.php|access-date=2021-12-29|website=Oral History Archives of Japanese Art}} In 1960, while still a student, she co-founded Group Ongaku (Group Music) to explore improvisation and action. Members of this collective included Takehisa Kosugi, Shukou Mizuno, Mikio Tojima, and Gen’ichi Tsuge, with Yasunao Tone joining later.

Shiomi returned to Okayama in March 1962 after completing her bachelor's degree and a year of graduate study at the Tokyo University of the Arts. In a solo performance at the Okayama Cultural Center she performed her own new compositions alongside those of American composers John Cage and Morton Feldman.{{Cite book|last=Yoshimoto|first=Midori|title=Into Performance : Japanese Women Artists in New York|publisher=Rutgers University Press|year=2005|location=New Brunswick, N.J.|pages=144–45}} Between 1963 and 1964, she began to compose what she termed "action poems," eliminating musical notation from the score entirely in favor of verbal instructions to be interpreted by the performer.

Several incidents connected Shiomi to Fluxus, leading George Maciunas to invite her to New York in 1964. Art historian Midori Yoshimoto explains that both Toshi Ichiyanagi and Yoko Ōno had mentioned Shiomi's work to Maciunas, and art historian Colby Chamberlain notes that a card in Maciunas' file records a recommendation of Shiomi from Toshi Ichiyanagi by letter, written after she performed in his concert at the Sogetsu Art Center, on January of 1962.{{Cite journal|last=Chamberlain|first=Colby|date=2018-11-01|title=International Indeterminacy: George Maciunas and the Mail|journal=ARTMargins|volume=7|issue=3|pages=78|doi=10.1162/artm_a_00218|s2cid=57560182|issn=2162-2574|doi-access=free}}{{Cite book|last=Yoshimoto|first=Midori|url=https://www.worldcat.org/oclc/133159483|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|isbn=0-8135-4105-0|location=New Brunswick, N.J.|oclc=133159483}} Shiomi further explains that while working on the action poems Mirror Piece and Endless Box in 1963, she made a trip to Tokyo where she was introduced to Nam June Paik by a mutual friend. Upon showing Paik her action poems, he promised to send her work to George Maciunas who was apparently so enamored of the work that he had it turned into the edition that funded her flight to New York.{{Cite web|last1=Kakinuma|first1=Toshie|last2=Takeuchi|first2=Nao|date=1 December 2014|others=Translated by Reiko Tomii|title=Oral History Interview with Shiomi Mieko {{!}} 京都市立芸大芸術資源研究センター|url=https://www.kcua.ac.jp/arc/ar/shiomi_eg_1/|access-date=2021-12-29|website=Geishiken}}{{Cite book|last=Yoshimoto|first=Midori|url=https://www.worldcat.org/oclc/133159483|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|isbn=0-8135-4105-0|location=New Brunswick, N.J.|pages=149–50|oclc=133159483}}

From 1964 to 1965, Shiomi lived in New York City, working closely with George Maciunas and contributing to Fluxus events, editions, and communal life.{{cite book |title=Modern Women: Women Artists at the Museum of Modern Art|first1=Cornelia|last1=Butler|first2=Esther|last2=Adler|first3=Alexandra|last3= Schwartz|year=2010}} Shiomi and Shigeko Kubota had flown over together on the same flight, and both initially lived near Maciunas's loft in Soho. As a result, Shiomi worked closely with Maciunas, Kubota, and Takako Saito, hosting communal fluxus dinners whose labor primarily ended up falling to the women, and producing Fluxus editions in the evenings until Kubota and Shiomi took up part-time evening work.{{Cite book|last=Midori|first=Yoshimoto|url=http://worldcat.org/oclc/1261925043|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|location=New Brunswick, N.J.|pages=150|oclc=1261925043}} After her arrival in New York, Maciunas continued to incorporate many of her works, such as Water Music (1965) and Disappearing Music for Face (1965), into Fluxus editions.{{Citation|last=C-MAP_MoMA|title=Interview with Shiomi Mieko: Chapter 2|date=2013-01-18|url=https://vimeo.com/57686996|access-date=2018-03-07}} His enthusiasm for incorporating her work into Fluxus editions secured her place as a seminal member of the loose collective, and has led many artists and musicians—both in and beyond Fluxus—to perform her work at both impromptu events and formal concerts.

While based in New York, Shiomi participated in several live performances, including the Perpetual Fluxfest at Washington Square Gallery in 1964 where she performed six pieces—Double Windows, Direction Event, Air Event, Passing Music, Water Music, and Disappearing Music for Face—which all incorporated audience participation, expanding the role of "performer" within her work.{{Cite book|last=Yoshimoto|first=Midori|title=Into Performance : Japanese Women Artists in New York|publisher=Rutgers University Press|year=2005|location=New Brunswick, N.J.|pages=154}} While living among other New York-based Fluxus artists, she also came to more actively re-conceive the boundaries of performance beyond formal events. Upon her arrival, Maciunas had secured temporary living arrangements for Kubota and Shiomi and helped them move extra furniture from his loft to theirs, in what Maciunas jokingly referred to as a "carrying event." She described her experience in New York as a time during which she "looked at various things in [her] daily life from different viewpoints and transformed them into nondaily actions (performance), and made a feedback of these actions into [her] daily life again."{{Cite book|last=Yoshimoto|first=Midori|title=Into Performance : Japanese Women Artists in New York|publisher=Rutgers University Press|year=2005|location=New Brunswick, N.J.|pages=155–156}}

She returned to Japan in 1965 when she could no longer extend her tourist visa, but continued her relationship with Fluxus artists through mail art correspondence.{{Cite book|last=Yoshimoto|first=Midori|url=https://www.worldcat.org/oclc/133159483|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|isbn=0-8135-4105-0|location=New Brunswick, N.J.|pages=142|oclc=133159483}} She began her Spatial Poem series while still in New York. Shiomi solicited Fluxus members from all over the globe to participate by inviting them to respond to an instruction and the collected responses constituted the work.{{Cite web|title=Spatial Poems by Shiomi Mieko {{!}} post|url=http://post.at.moma.org/content_items/195-spatial-poems-by-shiomi-mieko|access-date=2018-03-07|website=MoMA post|date=11 July 2013}} The nine Spatial Poems were published together in a booklet in 1975.

From 1965 to 1970 Mieko Shiomi lived in Tokyo and taught piano. Sometime between 1967 and '69 she changed her given name from Chieko to Mieko in accordance with Japanese onomancy (seimei handan), a shift reflected in some of the Fluxus editions from the late 1960s and early 1970s.{{Cite web|last=Rimmaudo|first=Anna|others=Translated by Katia Porro|title=Mieko Shiomi|url=https://awarewomenartists.com/en/artiste/mieko-shiomi/|access-date=2021-12-30|website=AWARE Women artists / Femmes artistes|language=en-US}} Upon her return to Japan, Shiomi reconnected with members of the Japanese avant-garde, and remained active in the Tokyo art and music scene until her marriage in 1970. Her activities were particularly important for the development of the genre of intermedia in the late 1960s, as evidenced by her participation in key intermedia events including From Space to Environment and Cross Talk/Intermedia.Ross, Julian. "Beyond the Frame: Intermedia and Expanded Cinema in 1960-1970S JAPAN." Ph.D. diss., The University of Leeds, 2014. pp. 54–57, 74-77

Upon her marriage in 1970, however, Shiomi's ability to travel regularly for rehearsals and performances was severely limited. She shifted her activities to what she could accomplish from her base of operations in Minoo, Osaka, completing much of the Spatial Poem series between 1970 and 1975. Music historian Miki Kaneda has described Shiomi's strategy of this time as a covertly feminist one, aimed at appropriating domestic technologies, such as the postal system, and adapting them toward her performative ends rather than breaking the constricting structures of the patriarchial order that chained her to the home. In Kaneda's words, "Shiomi’s Spatial Poems are a ‘submission to the inconvenience of the situation,’ but also a performative intervention into the ‘distribution of the sensible’ of her immediate surroundings."{{Cite journal|last=Kaneda|first=Miki|date=March 2015|title=Acoustics of the Everyday: Between Growth and Conflict in 1960s Japan|url=https://www.cambridge.org/core/product/identifier/S1478572214000188/type/journal_article|journal=Twentieth-Century Music|language=en|volume=12|issue=1|pages=93|doi=10.1017/S1478572214000188|s2cid=145756820|issn=1478-5722|url-access=subscription}}

After 1977, she returned to work on her own compositions but continued her links with Fluxus, including organizing the Fluxus Media Opera in Kobe in 1995 and participating in events and exhibitions that re-examined the legacies of Fluxus in the 1990s, 2000s, and 2010s. Once her children reached adulthood in the 1990s, she became more active, starting with a Fluxus Balance mail art collaboration series initiated in the early 1990s. She has also experimented more with electronic technology since the 1990s, most notably dealing with telephones and computer synthesized voices in the series of Fluxus Media Operas she produced from 1992 to 2001. Shiomi remains active, performing both older works and developing new artworks and performances, including collaborations. She currently lives and works in Minoo, Osaka.Elligott, Michelle, Doryun Chong, Eva Respini, and Sarah Suzuki. {{Citation|title=Interview with Shiomi Mieko: Chapter 1|date=28 October 2011|url=https://www.youtube.com/watch?v=ZdijV4_R180|publisher=MoMA C-Map|language=en|access-date=2021-12-30}}

Group Ongaku formed in 1961 around a desire to reorient their attention toward improvisational elements that they felt had been lost in modern Western music, and "rediscover the meaning of music, which they thought had been minimized." Toward this end, Group Ongaku hosted performances by artists including John Cage, La Monte Young and George Brecht, and explored the possibilities of objets sonore or sound objects, a key element of Musique concrète.{{Cite book|last=Yoshimoto|first=Midori|title=Into Performance : Japanese Women Artists in New York|publisher=Rutgers University Press|year=2005|isbn=978-0813535210|location=New Brunswick, N.J.|pages=142–143}} They pursued sounds that would stretch the meanings of both music and auditory experiences. Such non-musical sounds included a vacuum cleaner, radio, and kitchenware as well as experiments with magnetic audiotape. According to the artist:

This explosion of activity [of Group Ongaku] was characteristic of our insatiable desire for new sound materials and new definitions (redefinition) of music itself. Every week we discovered some new technique [or] method for playing a previously unthought-of 'objet sonor,' and argue endlessly about how to extend its use, and what relationships of sound structure could be created between each performer. We experimented with the various components of every instrument we could think of, like using the inner action and frame of the piano, or using vocal and breathing sounds, creating sounds from the (usually unplayable) wooden parts of instruments, and every conceivable device of bowing and pizzicato on stringed instruments. At times we even turned our hands to making music with ordinary objects like tables and chairs, ash trays and a bunch of keys.

In 1962 Shiomi returned to her family home in Okayama, and found herself working in a different manner. Art historian Sally Kawamura states that Shiomi was inspired by her rural surroundings to compose works that could be performed in non-traditional settings including the out-of-doors.{{Cite journal|last=Kawamura|first=Sally|date=November 2009|title=Appreciating the incidental: Mieko Shiomi's "Events"|url=http://www.tandfonline.com/doi/abs/10.1080/07407700903399474|journal=Women & Performance: A Journal of Feminist Theory|language=en|volume=19|issue=3|pages=312|doi=10.1080/07407700903399474|s2cid=192166398|issn=0740-770X|url-access=subscription}} She began working on instructional pieces, composed of words invoking actions, which she termed "action poems." This approach grew out of her increasing doubt about the real nature of music, and her growing belief that its essence did not reside in sound waves per se, but rather in sensations of time that could include physical actions. While many of her "action poems" consisted of written imperatives, she also began making objects that visually and physically invoked action. Examples of these early "action poems" include Boundary Music, which instructed performers to "make the faintest possible sounds of a boundary condition," and Endless Box, a series of nested paper boxes Shiomi described as "a visual diminuendo" that performers could un-nest and manipulate. In 1963, Shiomi was introduced to George Brecht's event scores through Yoko Ōno and Ichiyanagi Toshi, and she recognized her work fell into a similar vein, thus she began referring to these works as "events." By the time she took up correspondence about her instructional scores with Maciunas, the name "event" stuck. Thus one of the first Fluxus editions of Shiomi's work published by Maciunas (with help from Takako Saito) was Events and Games of 1964: a box containing double-sided cards with Shiomi's instructional scores in English on one side and Japanese on the other.

Although created in 1964 just before she went to New York, it was first performed during her time there, and exemplifies Shiomi's increased focus on audience participation as well as her new awareness of everyday actions as potential performances. The basic instructions read:

1. Give the water still form.

2. Let the water lose its still form.

Shiomi launched what would become her best known and most ambitious work just before leaving New York in July 1965 by sending out instructions to a list of addresses George Maciunas kept on file of Fluxus-friendly individuals. Unlike most mail art at the time, what she sent out was not a work that others would simply receive, but rather a set of instructions to which she was soliciting responses. Through this simple conceit, Shiomi created performances that spanned geographic distance and time, addressing her growing concern with the privileging of traditional event dynamics that require everyone to simultaneously meet in the same architecturally delineated space.

The full series of Spatial Poem events are as follows (invitation texts can be seen on the [https://post.moma.org/spatial-poems-by-shiomi-mieko/ MoMA's archives page]):

Spatial Poem No. 1 (Word Event), 1965

Spatial Poem No. 2 (Direction Event), October 15-16, 1965

Spatial Poem No. 3 (Falling Event), until August 31, 1966

Spatial Poem No. 4 (Shadow Event), December 11-31, 1971

Spatial Poem No. 5 (Open Event), July 15, August 5, 1972

Spatial Poem No. 6 (Orbit Event), May 3-23, 1973

Spatial Poem No. 7 (Sound Event), March 5-6, 1974

Spatial Poem No. 8 (Wind Event), October 7-27, 1974

Spatial Poem No. 9 (Disappearing Event), June 2-July 22, 1975

Art historian Jessica Lynne Santone sees Spatial Poem primarily as a window into Fluxus' networked community, serving "as an illustration of the process of community in formation, an event that is a function of the circulation of performance and document."Santone, Jessica Lynne. "Circulating the event: the social life of performance documentation, 1965-1975." Ph.D. diss., McGill University. p. 142 Art historian Kristine Styles takes this a step further in claiming the work is a quintessentially Fluxus performance, creating "a sort of metaphysics of the dynamics of social exchange and human action that extends from the infra to the supra—from the personal to the political, from the regional to the international.”{{Cite book|last=Styles|first=Kristine|url=http://worldcat.org/oclc/27904037|title=In the Spirit of Fluxus|date=1993|publisher=Walker Art Center|isbn=0-935640-40-1|editor-last=Jenkins|editor-first=Janet|location=Minneapolis, MN|pages=93|chapter=Between Water and Stone: Fluxus Performance, A Metaphysics of Acts|oclc=27904037}} Music historian Miki Kaneda however, takes a cue from art historian Midori Yoshimoto's assertion that the work responded to the specific situation—a mother of two young children—Shiomi found herself in, in the early 1970s. Kaneda focuses on how Spatial Poem allowed Shiomi to remain active in Fluxus networks even after marrying and having to run a household in Osaka. Kaneda focuses on how Shiomi uses the technologies and media at hand for a busy housewife and mother outside of the art centers to redefine the parameters of performance, creating the possibility of domestic performances so as to allow her everyday experiences to serve as a continuation of her investigations into sound.{{Cite journal|last=Kaneda|first=Miki|date=March 2015|title=Acoustics of the Everyday: Between Growth and Conflict in 1960s Japan|url=https://www.cambridge.org/core/product/identifier/S1478572214000188/type/journal_article|journal=Twentieth-Century Music|language=en|volume=12|issue=1|pages=89–93|doi=10.1017/S1478572214000188|s2cid=145756820|issn=1478-5722|url-access=subscription}}

Shiomi was already experimenting with electronic media in the 1960s, using a theremin-like electric-wave instrument for her contribution to Ichiyanagi Toshi's 1961 performance at Sōgetsu Art Center, and employing electronic synthesizers in performances for the Intermedia festival she co-organized and the Cross Talk/Intermedia event, both in early 1969.{{Cite web|last=Shiomi|first=Mieko|date=2013-07-11|others=Translated by Midori Yoshimoto|title=Intermedia/Transmedia|url=https://post.moma.org/intermedia-transmedia/|access-date=2021-12-30|website=MoMA post|language=en-US}} Yet in the 1960s these uses of electronic technologies were intended more as a means of exploring the gaps between different media or bridging across traditionally distinct media, as signaled by her use of Dick Higgin's term "intermedia," rather than explicit content in her work. In the Fluxus Media Operas of the 1990s, she set narrative instructions against conflicting music triggered by electronic sensors, playing with the intelligibility of a voices in a performance using international phone calls and electronic synthesizers, or commissioning a text for performers to respond to that indicted the computer-synthesized voice.

Mieko Shiomi composes events with music and environmental action. Selected works include:

• Mirror, 1963{{Cite book|last=Yoshimoto|first=Midori|url=https://www.worldcat.org/oclc/133159483|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|isbn=0-8135-4105-0|location=New Brunswick, N.J.|pages=148|oclc=133159483}}
• Boundary Music, 1963{{Cite book|last=Yoshimoto|first=Midori|url=https://www.worldcat.org/oclc/133159483|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|isbn=0-8135-4105-0|location=New Brunswick, N.J.|pages=146–47|oclc=133159483}}
• Event for the Midday in the Sunlight, 1963
• Endless Box, 1963–64{{Cite book|last=Ken|first=Friedman|url=http://worldcat.org/oclc/732568428|title=The Fluxus Reader|date=1998|publisher=Academy Editions|pages=293|chapter=A List of Selected Fluxus Artworks and Related Primary Source Materials|oclc=732568428}}
• Events and Games, 1964{{Cite book|last=Ken|first=Friedman|url=http://worldcat.org/oclc/732568428|title=The Fluxus Reader|date=1998|publisher=Academy Editions|pages=293|chapter=A List of Selected Fluxus Artworks and Related Primary Source Materials|oclc=732568428}}
• Shadow Piece II, 1964{{Cite book|last=Ken|first=Friedman|url=http://worldcat.org/oclc/732568428|title=The Fluxus Reader|date=1998|publisher=Academy Editions|pages=293|chapter=A List of Selected Fluxus Artworks and Related Primary Source Materials|oclc=732568428}}
• Air Event, 1964
• Water Music, 1964{{Cite book|last=Ken|first=Friedman|url=http://worldcat.org/oclc/732568428|title=The Fluxus Reader|date=1998|publisher=Academy Editions|pages=293|chapter=A List of Selected Fluxus Artworks and Related Primary Source Materials|oclc=732568428}}
• Disappearing Music for Face, flipbook, 1965{{Cite book|last=Ken|first=Friedman|url=http://worldcat.org/oclc/732568428|title=The Fluxus Reader|date=1998|publisher=Academy Editions|pages=293|chapter=A List of Selected Fluxus Artworks and Related Primary Source Materials|oclc=732568428}}
• Disappearing Music for Face, 1966 (Film, 16mm black and white, 11:41)
• Compound View no. 1, 1966{{Cite journal|last=Kawamura|first=Sally|date=2010-03-01|title=Appreciating the incidental: Mieko Shiomi's "Events"|url=https://doi.org/10.1080/07407701003732440|journal=Women & Performance: A Journal of Feminist Theory|volume=20|issue=1|pages=113|doi=10.1080/07407701003732440|s2cid=219613537|issn=0740-770X|url-access=subscription}}
• Spatial Poems no. 1-no. 9, 1965–1975 {{cite book|author=Gray, John|title=Action art: a bibliography of artists' performance from futurism|year=1993}}
• Flying Poem no. 2, 1989{{Cite book|last=Ken|first=Friedman|url=http://worldcat.org/oclc/732568428|title=The Fluxus Reader|date=1998|publisher=Academy Editions|pages=293|chapter=A List of Selected Fluxus Artworks and Related Primary Source Materials|oclc=732568428}}
• Balance Poem no. 1-no. 24, 1966–95

Presentation of works by Ichiyanagi Toshi, sogetsu contemporary series/10, Sōgetsu Art Center, Tokyo, 30 November 1961{{Cite book|last=Ashiya shiritsu bijutsu hakubutsukan|first=Chiba-shi bijutsukan|url=https://www.worldcat.org/oclc/170394127|title=Sōgetsu to sono jidai: 1945–1970|date=1998|publisher=Sōgetsu to sono jidai-ten jikkō iinkai|location=Ashiya, Japan|pages=215|language=Japanese|oclc=170394127}}

Sweet 16, Sogetsu Art Center, Tokyo, 3-5 December 1963{{Cite book|last=Ashiya shiritsu bijutsu hakubutsukan|first=Chiba-shi bijutsukan|title=Sōgetsu to sono jidai: 1945–1970|publisher=Sōgetsu to sono jidai-ten jikkō iinkai|year=1998|location=Ashiya, Japan|pages=230}}

Fluxus Symphony Orchestra Concert, Carnegie Concert Hall, 27 June 1963

Perpetual Fluxfest, Washington Square Gallery, 30 October 1964{{Cite book|last=Yoshimoto|first=Midori|url=https://www.worldcat.org/oclc/133159483|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|isbn=0-8135-4105-0|location=New Brunswick, N.J.|pages=151|oclc=133159483}}

Monday Night Letter, Café au go go, NY, 30 November 1964{{Cite web|title=Collective Fluxus - Café Au Go Go, New York|url=http://www.fondazionebonotto.org/cn/collection/fluxus/collectivefluxus/announcement/2481.html|access-date=2021-12-30|website=FONDAZIONE BONOTTO|language=en}}

Flux Week, Gallery Crystal, Tokyo, 1965{{Cite book|last=Midori|first=Yoshimoto|url=http://worldcat.org/oclc/1261925043|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|location=New Brunswick, N.J.|pages=158–59|oclc=1261925043}}{{Cite web|title=Artists|url=http://www.fluxus-east.eu/index.php?item=exhib&sub=artists&lang=en|access-date=2021-12-30|website=Fluxus East: Fluxus Networks in Central Eastern Europe}}

From Space to Environment—Happening, Sōgetsu Art Center, Tokyo, 14 November 1966{{Cite book|last=Midori|first=Yoshimoto|url=http://worldcat.org/oclc/1261925043|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|location=New Brunswick, N.J.|pages=160|oclc=1261925043}}

Happening for Sightseeing Bus, various locations in Tokyo, 18 December 1966{{Cite book|last=Midori|first=Yoshimoto|url=http://worldcat.org/oclc/1261925043|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|location=New Brunswick, N.J.|pages=161–62|oclc=1261925043}}

Intermedia Art Festival, 18, 19 and 21 January, Killer Joe's Discotheque and Nikkei Hall, Tokyo, 1969 (co-organizer along with Takehisa Kosugi and Yasunao Tone){{Cite book|last=Midori|first=Yoshimoto|url=http://worldcat.org/oclc/1261925043|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|location=New Brunswick, N.J.|pages=163|oclc=1261925043}}

Cross Talk/Intermedia, Yoyogi National Stadium, Tokyo, 5-7 February 1969

Deutsch-Japanische Woche: Notation of Contemporary Music, Osaka Goethe-Institute, Osaka, 1977

Festival Franco-Japonais de musique Contemporaine, l’Institute Franco-Japonais du Kansai, Kyoto, 1978

Japanese Composers ’79, Iino Hall, Tokyo, 1979

Concert & Marathon Sonic Environment: Pauline Oliveros & Deep Listening Band, Tokyo Pan, Tokyo, 1992

Fluxus Media Opera - Balance Poems, Xebec Hall, Kobe/Art Vivant, Tokyo, 10-11 July 1992{{Cite web|title=Shiomi, Mieko - Media Opera|url=http://www.fondazionebonotto.org/en/collection/fluxus/shiomimieko/10/1864.html|access-date=2021-12-30|website=FONDAZIONE BONOTTO|language=en}}

SeOUL- NymAX, The Courthouse Theater, New York, 13 October 1994{{Cite web|title=SeOUL-NYmAX: A Celebration of Art Without Borders|url=http://www.panix.com/~fluxus/MedialeMenu.html|access-date=2021-12-30|website=www.panix.com}}

Fluxus Media Opera, Xebec Hall, Kobe, 24 July 1994{{Cite book|last=Midori.|first=Yoshimoto|url=http://worldcat.org/oclc/1261925043|title=Into Performance: Japanese Women Artists in New York|date=2005|publisher=Rutgers University Press|location=New Brunswick, N.J.|pages=166|oclc=1261925043}}

Neue Musik aus Japan, Felix Mendelssohn Bartholdy Hall, Leipzig, 2000

Media Opera part 3: Fluxus Trial, The National Museum of Art, Osaka, 2001{{Cite web|title=Shiomi, Mieko - Fluxus Trial. Destructive performances for piano & computer|url=http://www.fondazionebonotto.org/en/collection/fluxus/shiomimieko/catalogue/2821.html?from=1811|access-date=2021-12-30|website=FONDAZIONE BONOTTO|language=en}}

Music Today on Fluxus, National Museum of Art, Osaka, 7 July 2013{{Cite web|last=Hashimoto|first=Azusa|date=14 September 2013|title=「ミュージック・トゥデイ・オン・フルクサス 蓮沼執太vs塩見允枝子」|url=https://realkyoto.jp/blog/5786/|access-date=2021-12-30|website=REALKYOTO – CULTURAL SEARCH ENGINE|language=ja}}

Fluxus in Japan 2014, Museum of Contemporary Art Tokyo, 2014{{Cite web|title=フルクサス・イン・ジャパン 2014 {{!}} スタッフブログ|url=https://www.mot-art-museum.jp/blog/staff/2014/04/_2014/|access-date=2021-12-30|website=東京都現代美術館｜MUSEUM OF CONTEMPORARY ART TOKYO|language=ja}}

Fluxus wo kataru (On Fluxus, Talk, Symposium and Concert), Kyoto City University of Arts, Kyoto, 19 January 2019{{Cite web|last=Takeuchi|first=Nao|title=柿沼敏江退任記念「フルクサスを語る」の報告 {{!}} 京都市立芸大芸術資源研究センター|url=https://www.kcua.ac.jp/arc/19/|access-date=2021-12-30|website=Geishiken}}

Flux-Show, Gallery A, Amsterdam, 1976

Fluxus – Selections from The Gilbert and Lila Silverman Collection, Museum of Modern Art, New York, 1988

FluxAttitudes, The New Museum, New York, 1992{{Cite web|title=Exhibitions: FluxAttitudes|url=https://archive.newmuseum.org/exhibitions/218|access-date=2021-12-30|website=New Museum Digital Archive|language=en}}

Yin & Yan, Fluxeum, Wiesbaden, 1992

In the Spirit of Fluxus, the Walker Art Center, Minneapolis; Whitney Museum of American Art, New York; the Museum of Contemporary Art, Chicago; the Wexner Center for the Visual Arts, Columbus. Ohio; the San Francisco Museum of Modern Art; and the Fundacio Antoni Tapies, Barcelona, 1993–94{{Cite book|last=Janet.|first=Anderson, Simon. Jenkins|url=http://worldcat.org/oclc/311989212|title=In the Spirit of Fluxus|date=1993|publisher=Walker Art Center|isbn=0-935640-40-1|location=Minneapolis, MN|oclc=311989212}}

Fluxus Media Pre-Exhibition, Xebec Hall, Kobe, 1994 (organizer)

Japanese Art After 1945: Scream Against the Sky, Guggenheim Museum, Soho, NY; Yokohama Museum of Art, Yokohama; San Francisco Museum of Modern Art, 1994{{Cite book|last=Alexandra.|first=Munroe|url=http://worldcat.org/oclc/60152601|title=Japanese art after 1945: Scream Against the Sky|date=1994|publisher=Harry N. Abrams|isbn=0-8109-2593-1|location=New York|oclc=311902781}}

Fluxus Show, Kunsthalle Basel, Basel; The Watari Museum of Contemporary Art, Tokyo, 1994

L’INVENTION DU MONDE, Centre Pompidou, Paris, 2003{{Cite web|last=ArtFacts|title=L´INVENTION DU MONDE {{!}} Exhibition|url=https://artfacts.net/exhibition/l%20́invention-du-monde/13396|access-date=2021-12-30|website=ArtFacts|language=en}}

Japanese Women Artists in Avant-Garde Movements, 1950–1975, Tochigi Prefectural Museum of Fine Arts, Utsunomiya, 2005{{Cite book|last=Kokatsu|first=Reiko|url=https://www.worldcat.org/oclc/869668369|title=Zen'ei no josei, 1950–1975 [Japanese women artists in avant-garde movements, 1950-1975]|date=2005|publisher=Tochigi Kenritsu Bijutsukan|location=Utsunomiya|oclc=869668369}}

Between Art and Life: Performativity in Japanese Art, Centre d'Art Contemporain Genève, 2008{{Cite web|title=Between Art And Life: Performativity In Japanese Art|url=https://centre.ch/en/exhibitions/between-art-and-life-performativity-in-japanese-art/|access-date=2021-12-30|website=Centre d’Art Contemporain Genève|language=en}}

DISSONANCES – Six Japanese Artists, Toyota Municipal Museum of Art, Toyota, Japan, 2008{{Cite web|last=Shiomi|first=Mieko|date=2013-07-11|others=Translated by Midori Yoshimoto|title=Spatial Poems by Shiomi Mieko|url=https://post.moma.org/spatial-poems-by-shiomi-mieko/|access-date=2021-12-30|website=MoMA post|language=en-US}}

Fluxus East, Künstlerhaus Bethanien, Berlin, Germany; Contemporary Art Centre, Vilnius, Lithuania; Bunkier Sztuki, Krakow, Poland; Ludwig Múzeum, Budapest, Hungary; Kumu Art Museum, Tallinn, Estonia; Kunsthallen Nikolaj, Copenhagen, Denmark; Henie Onstad Art Center, Høvikodden, Norway, 2007–2010{{Cite web|title=Artists|url=http://www.fluxus-east.eu/index.php?item=exhib&sub=artists&lang=en|access-date=2021-12-30|website=Fluxus East: Fluxus Networks in Central Eastern Europe}}

Staging Action: Performance in Photography since 1960, The Museum of Modern Art, New York, 2010{{Cite book|date=2014-01-10|others=Museum of Modern Art|title=Transformational Imagemaking: Handmade Photography Since 1960|url=http://dx.doi.org/10.4324/9781315818931|doi=10.4324/9781315818931|isbn=9781317818366|via=}}

Fluxus at 50, Nassauischer Kunstverein, Wiesbaden, Germany, 2012

Tokyo 1955–1970: A New Avant-Garde, The Museum of Modern Art, New York, 2012{{Cite web|title=Tokyo 1955–1970: A New Avant-Garde {{!}} MoMA|url=https://www.moma.org/calendar/exhibitions/1225|access-date=2021-12-30|website=The Museum of Modern Art|language=en}}

The House of Dust, James Gallery, Center for the Humanities, NY, 2016{{Cite web|title=The House of Dust by Alison Knowles|url=https://www.centerforthehumanities.org/james-gallery/exhibitions/house-of-dust|access-date=2021-12-30|website=The Center for the Humanities|language=en-US}}

JAPANORAMA, Centre Pompidou-Metz, Metz, France, 2017{{Cite web|title=The Japan Foundation - Japanorama—New vision on art since 1970 Exhibition focusing on Japanese visual culture at Centre Pompidou-Metz|url=https://www.jpf.go.jp/e/project/culture/exhibit/oversea/2017/10-03.html|access-date=2021-12-30|website=The Japan Foundation}}

Orgasmic Streaming - Organic Gardening - Electroculture, Chelsea Space, London, 2018{{Cite web|title=CHELSEA space: #74 ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE|url=https://www.chelseaspace.org/archive/orgasmic-streaming-info.html|access-date=2021-12-30|website=Chelsea Space, Chelsea College of Art}}

EXODUS I: A Colossal World: Japanese Artists and New York, 1950s – Present, WhiteBox, NY, 2018{{Cite web|date=2018-02-05|title=EXODUS I: A Colossal World: Japanese Artists and New York, 1950S - Present|url=http://whiteboxnyc.org/2018/exhibitions/exodus-i-a-colossal-world-japanese-artists-and-new-york-1950s-present/|access-date=2021-12-30|website=WhiteBox|language=en-US}}

Fluxus ABC, Galerie Krinzinger, Vienna, 2019{{Cite web|last=Rivière|first=Henar|title=Works {{!}} FLUXUS ABC|url=https://www.galerie-krinzinger.at/exhibitions/30100/fluxus-abc/works/|access-date=2021-12-30|website=Galerie Krinzinger|language=en}}

Body. Gaze. Power. A Cultural History of the Bath, Staatliche Kunsthalle Baden-Baden, Germany, 2020{{Cite web|title=Body. Gaze. Power.|url=https://kunsthalle-baden-baden.de/en/program/body-gaze-power/|access-date=2021-12-30|website=kunsthalle baden-baden|language=de-DE}}

Humor Has It, Nam June Paik Art Center, Gyeongju, South Korea, 2021{{Cite web|last=Njp_에디터|title=Humor Has It|url=https://njpart.ggcf.kr/humor-has-it/|access-date=2021-12-30|website=NAM JUNE PAIK ART CENTER|language=en-US}}

Fluxus Balance & Balance Poems, Galerie J & J Donguy, Paris, 1995{{Cite web|title=Mieko Shiomi Profile|url=http://ycassociates.co.jp/artists/2019/04/05/413/|access-date=2021-12-30|website=Yumiko Chiba Associates}}

Collagen und Multiples, Galerie & Edition Hundertmark, Cologne, 1998

New Works of Visual Poetry, Xebec Hall, Kobe, 2004{{Cite web|title=Mieko Shiomi Profile|url=http://ycassociates.co.jp/artists/2019/04/05/413/|access-date=2021-12-30|website=Yumiko Chiba Associates}}

An Exhibition – An Event [Une exposition – un événement), Jeu de Paume, Paris, 2013{{Cite web|title=An Exhibition – An Event [Une exposition – un événement)|url=https://jeudepaume.org/en/evenement/an-exhibition-an-event-une-exposition-un-evenement/|access-date=2021-12-30|website=Jeu de Paume|language=en-US}}

Mieko Shiomi & Fluxus, The National Museum of Art, Osaka, 2013{{Cite web|title=Collection1 Pablo Picasso The Prints and Ceramics Mieko Shiomi and Fluxus|url=https://www.nmao.go.jp/archive/en/exhibition/2013/collection1_pablo_picasso_the_prints_and_ceramics.html|access-date=30 December 2021|website=The National Museum of Art, Osaka}}

Mieko Shiomi & Takuma Uematsu: Exploring The Stars, Yumiko Chiba Associates, Tokyo, 2019

Her work has been recorded and issued on cassettes and CDs, including:

• [https://www.discogs.com/release/1037361-Mieko-Shiomi-Requiem-For-George-Maciunas Requiem for George Maciunas] (1990)
• [https://www.discogs.com/release/4119947-Mieko-Shiomi-An-Incidental-Story-On-The-Day-Of-A-Solar-Eclipse-123 An Incidental Story On The Day Of A Solar Eclipse #1#2#3] (1998, [https://www.discogs.com/label/21088-Edition-Hundertmark Edition Hundertmark])
• [https://www.discogs.com/release/703292-Mieko-Shiomi-Fluxus-Suite-A-Musical-Dictionary-Of-80-People-Around-Fluxus Fluxus Suite (A Musical Dictionary Of 80 People Around Fluxus)] (2002, [http://www.hundertmark-gallery.com/records.0.html ? Records])
• Satoko Plays Mieko Shiomi—Fractal Freaks (2005, [http://www.hundertmark-gallery.com/records.0.html ? Records]) *piano performed by Satoko Inoue
• [https://www.discogs.com/release/3551926-Mieko-Shiomi-The-World-Of-Sounds-And-Words The World Of Sounds And Words] (2010, [https://www.discogs.com/label/382016-Fontec FONTEC])

[https://www.staatsgalerie.de/en/exhibitions/review/fluxus.html Archiv Sohm Staatgalerie Stuttgart], Germany

[https://www.centrepompidou.fr/en/ressources/personne/cBAyK6A Centre Pompidou], France

[https://www.fondazionebonotto.org/en/collection/fluxus/shiomimieko Fondazione Bonotto], Vincenza, Italy

[https://www.mudima.net/la-fondazione/ Fondazione Mudima], Italy

[https://primo.getty.edu/primo-explore/search?institution=01GRI_INST&vid=GRI&tab=all_gri&search_scope=COMBINED&mode=basic&displayMode=full&bulkSize=10&highlight=true&dum=true&query=any,contains,shiomi&displayField=all&pcAvailabiltyMode=true&x=0&y=0 The Getty Research Institute], Los Angeles, CA

[http://www2.city.kurashiki.okayama.jp/kcam2/collection/collection50_2.html Kurashiki City Art Museum], Okayama, Japan

[https://www.museoreinasofia.es/en/coleccion/autor/shiomi-chieko Museo Nacional Centro de Arte Reina Sofia], Madrid, Spain

[http://museovostell.juntaex.es/coleccion2.htm Museo Vostell Malpartida], Spain

[https://www.moma.org/artists/5403 Museum of Modern Art, NY], USA

[https://museumcollection.tokyo/?s=%E5%A1%A9%E8%A6%8B%E5%85%81%E6%9E%9D%E5%AD%90 Museum of Contemporary Art Tokyo], Japan

[https://njp.ggcf.kr/wp-content/file/%EB%B0%B1%EB%82%A8%EC%A4%80%20%EC%95%84%EC%B9%B4%EC%9D%B4%EB%B8%8C/FA_EN_AR.Shio.01.pdf Nam June Paik Art Center], Korea

[https://artplatform.go.jp/resources/collections?artistName=%E5%A1%A9%E8%A6%8B%E5%85%81%E6%9E%9D%E5%AD%90 The National Museum of Art, Osaka], Japan

[https://kinbi.pref.niigata.lg.jp/wp-content/uploads/2020/04/60c2fa52e4e49620181ec7bab34c407c.pdf The Niigata Prefectural Museum of Modern Art], Japan

[https://collection.qagoma.qld.gov.au/creators/shiomi-mieko Queensland Art Gallery], Australia

[https://www.youtube.com/watch?v=1-6lpTPnK8c Urawa Art Museum], Saitama, Japan

[https://walkerart.org/collections/artists/mieko-shiomi Walker Art Center], Minneapolis, MN

[https://whitney.org/artists/12242 Whitney Museum of American Art], NY, USA

{{reflist}}

• [https://post.moma.org/intermedia-transmedia/ Retrospective presentation by Mieko Shiomi on her practice], originally published by Museum of Contemporary Art Tokyo, published in translation by MoMA's blog Post in July 2013
• [https://post.moma.org/spatial-poems-by-shiomi-mieko/ Spatial Poem materials from MoMA's archives]
• [https://www.kcua.ac.jp/arc/ar/shiomi_eg_2/ Kyoto City Art University Interview with Mieko Shiomi] (2014)
• [http://www.oralarthistory.org/archives/shiomi_mieko/interview_01.php Oral History Archives of Japanese Art Interview with Mieko Shiomi] (2013, two webpages, Japanese language)
• [https://post.moma.org/interview-with-artist-mieko-shiomi/ MoMA Post interview with Mieko Shiomi] (2011, video)
• [https://post.moma.org/?s=shiomi MoMA Post articles and archival materials that discuss Mieko Shiomi]

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{{DEFAULTSORT:Shiomi, Mieko}}

Category:1938 births

Category:20th-century Japanese classical composers

Category:20th-century Japanese musicians

Category:20th-century Japanese women composers

Category:21st-century Japanese classical composers

Category:21st-century Japanese musicians

Category:21st-century Japanese women composers

Category:Japanese women classical composers

Category:Living people

Category:People from Okayama

Category:Japanese contemporary artists