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TAICHI KONDO / 近藤 太一
JP x PH 1988
Based in Tokyo, Work in Manila
2011-2015 Private Art School
launched by the artist, Takuma Tanaka
PAST EXHIBITIONS
2016
/ Art In the Park w/Finale -(Manila, Ph)
/ Solo show at Finale Art File -(Manila, Ph)
/ Group show at Artery Art Space -(Quezon, Ph)
/ Parallax Art Fair -(London)
2017
/ Art In The Park w/Finale-(Manila, Ph)
/ Art Fair Philippines –(Manila, Ph)
/ Group show at House of Frida -(Bacolod, Ph)
2018
/ Art In The Park w/Finale -(Manila, Ph)
/ Art Fair Philippines –(Manila, Ph)
/ Group show at Kaida Contemporary -(Quezon, Ph)
2019
/ Solo show at Kaida Contemporary -(Quezon, Ph)
/ Xavier Art Fair w/Finale -(Manila, Ph)
2020
/ Art Fair Philippines-(Manila, Ph)
Artist Statement
TAICHI inherits the blood of two different countries, a Japanese father and a Filipino mother.
Although he was born in Japan, and now based in Tokyo, he has been choosing the Philippines to showcase his art.
Here, "JAPINOYSME" is a coined word created by TAICHI. Its meaning is inspired by Japonism, which influenced the Impressionists of the 19th century.
As well known, Japonism is a popular Japanese Ukiyo-e culture that has spread to the West, affecting many artists and general public as well. On the other hand, while recognizing the differences that exist between Japan and the Philippines, TAICHI produces works focusing on the common foundation underlying it. The idea underlying the production was named JAPINOYSME. Because a new culture always occurs when two different cultures mix, TAICHI is conscious of the trends of the two cultures.
Nowadays, Taichi uses a rooster motif. In his mother's hometown in Bacolod, Philippines, roosters blend in with people's daily lives as a symbol of lively life as seen particularly in cockfights. In Japan, on the other hand, they are domesticated like broilers and are only seen as food. Here, through the rooster, which Japan and the Philippines have in common, and at the same time reflects the differences between the two countries
<Solo exhibition "JAPINOYSME" at Kaida Contemporary, June 2019>
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