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  • "KiyaKiya" Animation
    2010–2011

  • "KiyaKiya" Drawing Series
    2010–2013

  • "KiyaKiya" Painting Series
    2010–2013

  • "KiyaKiya" Exhibition View
    Mizuma Art Gallery, Tokyo
    2011

  • "KiyaKiya" Exhibition View
    galleri s.e, Bergen, Norway
    2013

  • waiting02-sketch
    2009

  • waiting04-sketch
    2009

  • sketch of a 1/15 sec.
    2008

  • Flesh
    2008

  • Fruit
    2008

  • Seed
    2008

  • waiting-sketch
    2008

  • Seal
    2007

  • "Ladybirds' Requiem" Animation
    2005–2008

  • "Ladybirds' Requiem" Drawing Series
    2005–2008

  • "Ladybirds' Requiem" exhibition View
    Mizuma Art Gallery, Tokyo
    2006

  • "Ladybirds' Requiem" exhibition View
    Taché-Lévy Gallery, Brussels, Belgium
    2007

  • Crevasse of the Night vol.2
    2005

  • I Hear the Beat of the Night, vol.2
    2005

  • I Hear the Beat of the Night, vol.1
    2005

  • Time
    2005

  • Braids vol.2
    2005

  • Chrysalis
    2005

  • Menstrual Flowers vol.5 Rising Flowers
    2004

  • Menstrual Flowers vol.6 Sign on a Rainy Day
    2004

  • Menstrual Flowers vol.7 Flaring Skirt
    2004

  • Menstrual Flowers vol.8 My Garden
    2004

  • Menstrual Flowers vol.9 Flaring Night

  • My Pandemonium
    2004

  • My Pandemonium-Mass
    2004

  • My Pandemonium-Falling
    2004

  • My Pandemonium-Landing
    2004

  • ORANGE MUFFLER
    2004

  • Flutter of the Night
    2004

  • Curtain of the Night
    2004

  • Crevasse of the Night
    2004

  • Original Drawing for Front Cover "Hakoniwa-Mushi"
    2004

  • Skirt of the Night
    2004

  • Overflowing Flowers vol.2
    2004

  • Spreading Flowers
    2004

  • Menstrual Flowers vol.1 Menstrual Flowers
    2003

  • Menstrual Flowers vol.2 Sudden Flowers
    2003

  • Menstrual Flowers vol.3 Sign above the Umbrella
    2003

  • Menstrual Flowers vol.4 Sign from Behind
    2003

  • Infiltrating Flowers
    2003

  • The Evening Traveling Animation
    2001–2002

  • Hakoniwa-Mushi
    2001

  • 3-5
    2000

  • First Dream
    2000

  • Girls' Pandemonium
    2000

  • Girls
    1999

—

The term "KiyaKiya" comes from the old Japanese expression "mune ga kiyakiya suru." I first encountered it in Shibusawa Tatsuhiko's book Introductory Essays on Girls, in the chapter about "childhood experiences." The expression, which describes “an enigmatic, nostalgic, disturbing feeling,” or an impression of “deja-vu”, is at the origin of my "KiyaKiya" series.
—

This is one of my memories. When I was a child, there was a book I always used to read when I went to the hospital. One day as I was reading it as I always did, suddenly the ending had changed. Sometime later, when I read it again, it had returned to normal.
—

In our everyday routine, there are moments when suddenly we feel like something is different; this unexpected change, like in my memory, feels like it has a kind of reality. This impression is at the core of “KiyaKiya” and the related painting and drawing series.
—

  • KiyaKiya_drawing02
    2011

  • KiyaKiya_drawing04
    2012

  • KiyaKiya_drawing14
    2013

  • KiyaKiya_drawing15
    2013

  • KiyaKiya_drawing16
    2013

  • KiyaKiya_drawing18
    2009

  • KiyaKiya-I am called by a name I don't know
    2011

  • KiyaKiya-I feel my face is different from usual
    2011

  • KiyaKiya-I feel a sense of déjà-vu
    2012

—

The term "KiyaKiya" comes from the old Japanese expression "mune ga kiyakiya suru." I first encountered it in Shibusawa Tatsuhiko's book Introductory Essays on Girls, in the chapter about "childhood experiences." The expression, which describes “an enigmatic, nostalgic, disturbing feeling,” or an impression of “deja-vu”, is at the origin of my "KiyaKiya" series.
—

This is one of my memories. When I was a child, there was a book I always used to read when I went to the hospital. One day as I was reading it as I always did, suddenly the ending had changed. Sometime later, when I read it again, it had returned to normal.
—

In our everyday routine, there are moments when suddenly we feel like something is different; this unexpected change, like in my memory, feels like it has a kind of reality. This impression is at the core of “KiyaKiya” and the related painting and drawing series.
—

  • KiyaKiya_painting01
    2009

  • KiyaKiya_painting02
    2011

  • KiyaKiya_painting03
    2011

  • KiyaKiya_painting04
    2011

  • KiyaKiya_painting05
    2013

  • KiyaKiya_painting08
    2013

  • KiyaKiya_painting09
    2013

  • KiyaKiya_painting10
    2013

  • KiyaKiya_painting11
    2013

—

The term "KiyaKiya" comes from the old Japanese expression "mune ga kiyakiya suru." I first encountered it in Shibusawa Tatsuhiko's book Introductory Essays on Girls, in the chapter about "childhood experiences." The expression, which describes “an enigmatic, nostalgic, disturbing feeling,” or an impression of “deja-vu”, is at the origin of my "KiyaKiya" series.
—

This is one of my memories. When I was a child, there was a book I always used to read when I went to the hospital. One day as I was reading it as I always did, suddenly the ending had changed. Sometime later, when I read it again, it had returned to normal.
—

In our everyday routine, there are moments when suddenly we feel like something is different; this unexpected change, like in my memory, feels like it has a kind of reality. This impression is at the core of “KiyaKiya” and the related painting and drawing series.
—

Press Release
•
Akino Kondoh Exhibition“KiyaKIya”
•
11st October to 12nd November, 2011
Mizuma Art Gallery, Tokyo, Japan

  • Mizuma Art Gallery is pleased to present KiyaKiya, KONDOH Akino's first solo exhibition in 3 years.
    —

    Kondoh has been working in New York where she established herself in the autumn 2008.

    The artist, who in 2010 received a Youtube Play Award for her animation "Ladybirds' Requiem (digest version)" at the Guggenheim Museum and took part in Domani: The Art of Tomorrow at the National Art Center, is widely active at home and abroad.
    —

    The present exhibition includes Kondoh's new animation work "KiyaKiya" as well as drawings, oil paintings and sketches. The term "KiyaKiya" comes from the old Japanese expression "mune ga kiyakiya suru." Kondoh first encountered it in Shibusawa Tatsuhiko's “Introduction to the collection of girls”in the chapter writen about "childhood experiences." This expression, which describes “an enigmatic, nostalgic, disturbing feeling,” or an impression of “deja-vu”, is at the origin of the "KiyaKiya" series.
    —

    In the animation, a girl is performing "kamishibai" (a traditional Japanese picture-story show). We the artist noticed the time gap between the front and the back of the illustration cards (the episode of the story the audience is listening to is written on the back of the previous card; that is to say there is a 1 page difference between the front and the back of the "kamishibai" cards) she says she felt the possibility of a different dimension hidden right behind the everyday life.
    —

  • Three worlds simultaneously develop in the work. The same girl, who exists in the three of them, lives all three different times. These tracks curve slowly, eventually .ing and switching directions and she continuously circle these orbits in an endless repetition.
    —

    This is one of Kondoh's memories. "When I was a child, there was a book I always used to read when I went to the hospital. One day as I was reading it as usual, the end was different. When I re-read it again some times later, it was back to normal."
    —

    In our everyday routine, there are some moments when we suddenly feel like something is different; something unexpectable, like in the artist's memory, appears to have some kind of reality. This impression is at the core of the animation work.
    —

    Kondoh says "very intimate things are easier to share with strangers than public ones." In the present exhibition, you will experience a uneasy and nostalgic feeling, as if you had long forgotten an important something and were about to remember it. Some memory locked down in your heart might very well resurface.
    —

    —

    The story begins with a girl mistakenly killing two ladybirds. From this incident, the girl's guilt overwhelms her, creating the hallucination of a button of her blouse turning into ladybirds. She begins to feel that her selves have multiplied and exist elsewhere. In an attempt to assuage the continuous wave of guilt and fear, she keeps sewing hundreds of buttons to the inside of her skirt.
    —

    I remember, as a child, reading a children’s book. There was a page that could not stop looking at again and again, though it frightened me and gave me nightmares. I have this vision. A ladybird fell from my hand to the ground, where it was immediately crushed by a car. The yellow liquid oozing from its limbs tasted so bitter. “Ladybird’s Requiem” is based on the transformation of these childhood nightmare into beautiful and nostalgic memories as an adult.
    —

    • "Ladybirds' Requiem" Drawing Series
      •

      >>To Works

    • “Ladybirds’ Requiem” 2-10-02
      2006

    • “Ladybirds’ Requiem” 2-13
      2006

    • “Ladybirds’ Requiem” 2-19
      2006

    • “Ladybirds’ Requiem” 3-11
      2006

    • “Ladybirds’ Requiem” 3-09
      2006

    • “Ladybirds' Requiem”1-11
      2007

    • “Ladybirds' Requiem” 1-13-03
      2007

    • “Ladybirds' Requiem” 3-06
      2007

    • “Ladybirds' Requiem” 3-09-02
      2007

    • extra scene05 from “Ladybirds' Requiem”
      2007

    Press Releasee
    •
    Akino Kondoh Exhibition
    “Ladybirds' Requiem"e
    •
    5th July to 5th August, 2006
    Mizuma Art Gallery, Tokyo, Japan

  • Mizuma Art Gallery is pleased to present Akino Kondoh's first solo exhibition “Ladybirds' Requiem”. Born in 1980, Kondoh has received the Encouragement Award at the 2nd AX Newcomer's Award (Seirin Kogeisha Co., Ltd.) for her manga work “Kayoko Kobayashi” in 2002, and Grand Prize at NHK Digista Award, Animation Division with her animation work “The Evening Traveling” in which a girl dances rhythmically to an unique music by Toshiaki Chiku (a former member of Japanese underground band called Tama) in 2002. She is regarded as one of the young artist who has been receiving great recognition in both domestic and international art scene.
    —

    The title of this exhibition “Ladybirds’ Requiem” is also a title of her new animation work. This work is a remake of her graduation project as she was not satisfied with its result. The story of the animation begins from a girl mistakenly killing two ladybirds. From this incident, the girl’s guilt swells up to create an illusion of seeing a button of her blouse as ladybirds, and fears for a feeling towards an existence of numerous selves in some other places. Being submerged in such continuous wave of guilt and fear, she keeps sewing hundreds of buttons to inside of her skirt. The Girl is named “Eriko”, and she appears in all of Kondoh’s works such as manga or drawings as her ideal girl. The scene of Eiko dozing in the water or the sticky liquid oozing out from entwined ladybirds suggestively captures the psychology of adolescent young girl.
    —

  • Kondoh remembers about how she kept watching “Minna no uta” (NHK children’s music TV program), although she was frighten of recurring images of “The Metropolitan Museum of Art” in the program, how she had repetitive nightmares, a bitter taste of yellow fluid from joints of a ladybird or a ladybird getting killed by a car at the instant it fell out of one’s hand to the ground. This animation is created from her realization of these childhood nightmare-like experiences becoming beautiful and nostalgic memories as she grows, and how it became a source of her creative activities.
    —

    Through Kondoh’s works the audiences shall experience nostalgic and a border between uncertain reality and fantasy like a forgotten nightmare unconsciously we remember like a skin sensation. Also, the various scenes that were　not expressed within the animation will be exhibited as drawings. Akino Kondoh captures intangible memories and fantasies with a hint of enigmatic reality. We hope you enjoy Kondoh's world that provokes the sense of fear and beauty of their childhood.
    —