Tsuneko Taniuchi, Micro-événement n°11, Troc, Palais de Tokyo © ADAGP, Paris 2013 – Helena Villovitch

Tsuneko Taniuchi was born in 1946 in Hyôgo, Japan, where she grew up and studied before moving to Paris in 1987, bringing with her a rich cultural heritage. Her background, informed by a variety of influences, feeds her critical eye as regards social and artistic norms, making her work relevant to contemporary issues.

Tsuneko Taniuchi, Micro-événement n° 1 /Ato no matsuri / Trop tard, performance, Galerie chez Valentin, Paris, 1995, Photo Sylvain Flanagan, © ADAGP, Paris

“Micro-events” are the cornerstone of Tsuneko Taniuchi’s practice, reinventing the relationship between art and life through interventions in which the public participates directly. In 1995, the artist inaugurated this concept with Ato no matsuri / Trop tard, presented at the Chez Valentin gallery in Paris: before the opening of an exhibition, she brought together figures from the art world for a meal, which was interrupted by an argument orchestrated by the artist. Three days later, the public discovered the traces of this event: a messy table, soiled floors and walls, and a series of Polaroids accompanied by an explanatory text.

Tsuneko Taniuchi, Neuf personnages de femmes, 2008, © ADAGP, Paris 2013, Volker Renner

Tsuneko Taniuchi, Micro-événement n°8 /Action publique, performance, event Ici tout est réel, organised by Tribeca magazine, Monoprix, Paris, 1998, Photo Eric Tabuchi, © ADAGP, Paris

This example illustrates how Tsuneko Taniuchi questions norms, whether gender, cultural or social, and challenges the expectations imposed by systems of power, while inviting us to rethink the link between art and everyday life. This ongoing questioning is apparent throughout her career, as she constantly challenges stereotypes and the domestic roles attributed to women. Through critical interventions tinged with humour, she deconstructs the fixed image of ‘the woman’, whether perceived as a passive wife, a mother confined to the home or a muse reduced to a mere object of inspiration. By placing her body at the heart of her micro-events, Tsuneko Taniuchi encourages the public to question the reifying gaze and to imagine a femininity freed from the restrictive norms that usually restrain it.

Tsuneko Taniuchi, Micro-événement n°14 / Future épouse aime faire la peinture, for Art & Vitrine, Rougier & Plé, Paris, 2002, Photo Tiina Ketara, © ADAGP, Paris

Tsuneko Taniuchi, Micro-événement /Anniversaire de mariages, performance, for Rendez-vous du forum, Session 2, Centre Pompidou, Paris, 2010, Photo Maria Tomé, © ADAGP, Paris

The stereotype of the ‘bride’, a symbol of traditional expectations, occupies a central place in her practice: through micro-events held in France and abroad, the artist plays on this figure to subvert the institution of marriage. By organising fictitious unions in various locations and simultaneously marrying one, two or even three people of any sex or gender identity, she transforms this act into a critical reflection on the norms of commitment, love and social structures. This project, begun in 2003, ten years before the adoption of the law authorising same-sex marriage in France, has seen Tsuneko Taniuchi perform nearly four hundred marriages in the field of art, creating a space for experimentation where art and commitment merge to forge intimate experiences with her audience.

Tsuneko Taniuchi,  Micro-évenement n°36, Ice vitrine, © ADAGP, Paris 2013 – Elin Lundgren

Tsuneko Taniuchi, Micro-événement n° 25 /Public communication bar / VIP Cocktails, performance, for Occupation #1, MAC/VAL, Vitry, 2004, Photo Laurent Vicari, © ADAGP, Paris

For the artist, creating links is not just a theme: it is the driving force behind her approach. Through her micro-events – simple gestures charged with meaning – Tsuneko Taniuchi breaks down cultural barriers and opens up a space for dialogue. These interventions turn art into a common language that brings together identities and traditions, while creating a real closeness with the public. Like a mediator, she acts as a link between people, encouraging encounters and exchanges. Through collective experiences, her micro-events encourage people to see multiculturalism as an asset rather than a challenge: every difference becomes an opportunity for dialogue and creation. By blurring the boundaries between life and art, she proposes an optimistic vision of community living, where each interaction strengthens our approach to being together and being part of society.

Rose Bideaux

Tsuneko Taniuchi, born in 1946 in Hyogô, lives and works in Paris since 1987. In 1995, she honed the concept of ‘micro-events’ which rethinks the relationship between viewer, work and artist. These participatory performances invite external involvement, blurring the boundaries between art and reality while questioning social norms and identity. By creating intimate experiences, she subverts norms to disrupt traditions and explore the multiplicity of identities. Exhibited internationally, her work has also left its mark on major events such as La Force de l’art (Grand Palais, Paris, 2006 and 2009) and the Liverpool Biennial (2004).