スーパーオリジナル | Super Original

The inspiration for this video work, which has the San Francisco Peace Treaty as its theme, was spending time as an artist-in- residence at a former military facility near the Golden Gate Bridge. While doing research there, I discovered that the facility still had a battery that was built to defend against Japanese forces, the small room that was probably used by Japan’s prime minister Shigeru Yoshida when he came to sign the treaty, and masses of eucalyptus trees that were planted to hide the facilities from Japanese attackers. Eucalyptus trees, which were imported from Australia because they grow quickly, are protected as part of the local landscape, but today they pose a threat as a result of the wildfires that occur frequently because the trees have a high oil content. Looking back at these facts and decisions from an overall perspective, they can’t all be dismissed as foolishness. Amending the Japan-US Security Treaty that was signed along with the San Francisco Peace Treaty is a specific concern at a time when issues with the Japanese constitution are being discussed, but this background continues to have a significant impact on us today, including the overall historical relationship between Japan and the US, and the strange fact that it all began in San Francisco. By taking an abstract approach to examining this historical background, I attempt to suggest the possibility of finding a new path forward.

This work is a video piece that compiles fragmented scenes related to "castles" and creates new perspectives through editing. While archetypal figures such as princes, heroes, fairies, and horses appear, they do not fulfill their conventional roles; instead, they continuously speak nonsensical words, rendering any coherent narrative absent. Amid an unpredictable rhythm, majestic castles, absurd rituals, and exaggerated gestures intertwine, forming a humorous and surreal world. However, language does not function as a tool for storytelling but rather as noise, disrupting the viewer’s understanding. What unfolds in this work is not a "story" but the inherent uncertainty and fluidity of language itself. As these iconic characters behave in ways that deviate from convention, a distorted sense of a fable-like world emerges.

A video work created entirely from pre-existing 3D models found on the internet, distributed as "assets." These "assets" are the materials of digital content production—at once actors, laborers, and in the most literal sense, assets. Within the game engine, programmed sequences set their bodies in motion, making them jump, bounce, and contort. However, just as a game’s rules exist solely for the sake of play, the program itself has no purpose. This is an ensemble cast of data adrift in a cycle of production and distribution without purpose.

A 10-minute sound poetry/ using Hatsune Miku. Beginning with a passage from Allen Ginsberg's poem, a personal narrative poem about the imbalance of the world and very personal love is read through the artificial voices of Siri and Hatsune Miku, and the digitally modulated natural voice of the author. This audio/visual work reinterprets Hatsune Miku, normally used for singing, as a tool for recitation. The main character runs through the uninhabited, devastated parallel world of Akihabara.

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 written about "childhood experiences."
This expression, which describes “an enigmatic, nostalgic, disturbing feeling,” or an impression of “déjà-vu”, is at the origin of the "KiyaKiya" series.

"Till We Meet Again" is an American pop song written in 1918 by Richard A. Whiting (music) and Raymond B. Egan (lyrics), The song was sung by Henry Burr and Albert Campbell, and was also performed by Whiting’s daughter, Margaret, who wrote the song. The song has been covered by many famous singers, including Whiting’s daughter Margaret Whiting, Patti Page, and Doris Day.
The title of this song, "Till We Meet Again," is a reflection of my recent travels and reunions with close friends from across the ocean.
I spent three months in Europe from July to September 2013 for exhibitions in Vienna and Dusseldorf, I reconnected with some friends in Austria, Germany, and Italy. The lives of the friends I met for the first time in a long time have also changed a lot over time, albeit gradually. They have reached a turning point in their lives. I was wondering "When will I see them again? When will I see them again? And I wonder if I will be able to come back here like this again. I began to wonder where the rest of my life would lead me. As I meet new people on my journey, I also feel the loneliness of saying goodbye to the same number of people I have met in the past. I also feel the loneliness that comes with the same number of good-byes. Meeting people I have met in faraway places again was the main purpose of this trip.
In my work, photographs and video are the primary means of depicting the stories that emerge from memories and records. In this work, however, I have placed conversation and voice at the center of my work.
When I listen to the recorded voice, the time that has passed comes back to life in my body, and it takes on a vividness that is different from that of a photograph. It is a vivid image of the time that has passed.
On the other hand, the small fluctuations in the wind and the movement of people and objects in my eyes, which I do not usually pay attention to, suddenly make me realize that I am indeed "alive," and I am able to see the images of these things. I was made aware that I was indeed "alive," and I captured them on film.
Even now, after the trip is over and I have returned to my daily life, I think about the lives of my friends on the other side of the sea and how their lives are being carved day by day, and once again, I silently think about my friends and family in my own country. I also quietly think about my friends and family back home. I am reminded of the natural "awareness" that comes as we all grow older. I created "Till We Meet Again" with my thoughts about my own life and the lives of others in mind.