Mieko Shiomi (b. 1938) is a Japanese artist, composer, and performer who played a key role in the development of text scores, free improvisation, tape music, and many other practices exploring the limits of sound and music. During her studies in the Tokyo University of the Arts, together with Yasunao Tone, Takehisa Kosugi, and others, she founded the experimental music collective Group Ongaku, pioneering electroacoustic improvisation, which later became a worldwide phenomenon. In 1964, she was invited by George Maciunas to join the Fluxus movement, where she introduced and developed some of her practices for an international audience, before returning to Japan and starting work on performances (‘events’), ensemble pieces, and other works — for example, Spatial Poems, an event that bends time and geography and integrates all her practices, based on instructions sent to fellow artists and the careful documentation of the results.
Still active today, her work has been widely circulated as Fluxus editions, featured in concert halls, museums, galleries, and non-traditional spaces, as well as re-performed numerous times by other musicians and artists. Since 2014, Mieko Shiomi has also been giving lectures at Kyoto City University of Arts as a Distinguished Visiting Scholar.


Starting with a simple instruction — “let something be blown by the wind” — the collectively made sonic sculpture commissioned for Rites of the Eternal Wind offers a strong entry point for exploring the conceptual framework of Mieko Shiomi’s artistic practice, which has been shaping her work for over 65 years. She expands the idea by inviting all Triennale artists, both local and international, to bring or send a bell or any sound-making object to contribute to the sculpture. These objects are to be hung on a piece of wood found near the Syr Darya River in Kazakhstan, and they will be moved by the air, resembling wind chimes — one of the earliest forms of chance-based music known to humanity.Titled Wind Event, the sculpture is not a static object but a durational work that begins sounding even before the Triennale opens; and it will only be fully experienced once each participating artist has had the opportunity to contribute.