Kanjo Také reinvents the collage principle with every episode. He inspires it through extensive associations and makes it closely. His visual material consists of digital photos, which he captures up close around the corner, but also on trips around the world. His archive gathers the ongoing harvest of an insatiable eye, for which a puddle pours out as a torrential environmental catastrophe or individual flower umbels on a pond grow into a thousand-fold branching reflection – my favorite among all the spring pictures since Botticelli is his work “Giverny” (2017 ). Photographic details unfold into expansively moving panoramas, urban silhouettes or distant hill ranges. Contrasts are smoothed, accentuated or tinted. Perspectives shift into each other, fragments of perspective shrink, with extreme sharpness of detail, into tiny sections or expand into cosmic dimensions. In this way, Také’s imagination reveals contexts never seen before and opens up a new perspective on the world.
In all of this, the German-Japanese artist leaves traditional painting behind as well as traditional photography. However, he continues their quintessence by other means. He has the most advanced media sovereign, virtuously uses the keyboard of the computer scale for colored glazes or brightens up by means of solarizations. In contrast to Andreas Gursky, who juxtaposes countless minimal deviations, Také merges his digital montages into baroque world landscapes from evolutionary growths to the financial crisis 2008 (“Mikado”) to end-time doom scenarios. Each sequence is simultaneously an intuitively thought-out train of thought and an impressively composed sequence of images.
Manfred Schneckenburger, Cologne in April 2019
The visual artist Kanjo Také knows how to connect all artistic media with each other. Drawing, painting, sculpture, photography, video, projections and the use of new media lead to an unprecedented burst of imagination and new images at Také, with which he sees and explains the world anew. The viewer experiences relationships that he previously could only guess at. The world re-visualises itself with great responsibility, it becomes a playground for the imagination, it eludes its pure facts through art.
This works because the artist combines all media with one another. He can combine painting and drawing with photography and the computer, so that the experts and engineers are surprised because the combinations bring to light technical possibilities that were previously considered impossible. Také transforms the image into new abstractions that are made possible by the media connections. The objects mostly lose their original meaning, they regenerate themselves and make other statements that become more active beyond the date.
The artist’s imagination, fed by experiences, emotions, knowledge and aesthetic feeling, invents a new world in which people, landscapes, nature, city, artifacts, philosophy and history and a great deal of knowledge about their histories enter into a new visual alliance. Také is the master of digital painting, the art of the 21st century. His artistic ability guarantees him independence, which allows aesthetic inventions that are unique in today’s media, digital painting and photography. The works prove the special position of the artist.
Dieter Ronte, Bonn in March 2019
1953 born in Berlin as son of a Japanese industrialist
1971-1973 Study of painting at the Escuela de Bellas Artes,
Granada, Spain, Diploma Sobre Saliente
1973 -1976 tudies at the Berlin University of the Arts
Diploma for visual communication and photography
1976 -1987 Artistic art direction in international agencies: Tokyo,
New York, London, Zurich
ab 1988 Freelance work as a photo artist in Hamburg, London, Shanghai, Tokyo
1994 –1999 Foreign trips and stays in India, China, Japan, Russia,
2002-2004 Conceptual work for Olympus with first digital camera
2005 Exhibition Olympus Gallery, Tokyo
1st national workshop/ competition in China for creative photography.
Cooperation with Prof. Xiao Hui Wang/ Tongji University /Shanghai
2005 -2010 Meeting and intensive cooperation with
Manfred Schneckenburger, twice director of the “documenta
2011-2012 Trips to China and Korea / Studies of shamanic dances
2013-2015 Intensification of the work with extended projection among others after 2 times
participation in the Light Vision Biennale in Bad Rothenfelde 2011 + 2013,curated by Manfred Schneckenburger
Inclusion in the Critical Encyclopedia of Contemporary Art: KANJO TAKÉ:
“The holy mountain and other myths”/ Manfred Schneckenburger
2015-2016 Intensification of media painting
2017-2018 Intensification of the extended projection “Beyond Shoji” as a participant
the Venice Architecture Biennale 2018
2019 Overpainting of analogue photographs
2020 St. Petersburg, museum exhibition at the Russian Museum /
Stroganov Palace. “SURREAL” KANJO TAKÉ 1975-2020
Lives and works in Düsseldorf
2020 St. Petersburg, museum exhibition at the Russian Museum | Stroganov Palace. “SURREAL” KANJO TAKÉ 1975-2020″
2018 Tashkent, Tashkent Art Biennial, video installation
“BEYOND SHOJI” as a projection at the National Gallery in Tashkent.
Highest art award for a foreign artist to Kanjo Také.
Venice, Venice Architecture Biennale May 26 – Nov. 25, 2018 with the expanded projection “BEYOND SHOJI
2017 Salzburg, video projection “AMADEUS” on the facade of the Kollegienkirche as part of the Salzburg Festival
Bad Rothenfelde, Lichtsicht-Biennale, participation for the 3rd time with the video projection “MIKADO” on the 12 m x 400 m grading wall
2016 Taipeh, Formosa 101 Art Fair, “LAOZI MEETS BEUYS“
2014 Abu Dhabi, Abu Dhabi Emirates Palace, video projection on water shield “PLANET OF ECSTASY” for Rolls Royce
2013 Bad Rothenfelde, 4th Light Vision Biennale “MIKADO” Video projection on 12 m x 400 m wall and “PINBALL” video projection on the facade of the Kurmittelhaus
2011 Bad Rothenfelde, 3rd Light Vision Biennale, video projection ” INVISION” on 12 m x 400 m wall and “MANGA” projection on water fountain
Mannheim, Reiss-Engelhorn-Museum ( rem ) ” FERNE GÄHRTEN”, video installation ” FUKUSHIMA”, 10m work ” KYOTO” from the cycle “NOWHERE OR 36 VIEWS OF FUJIYAMA ”
Basel, Scope Art Basel | hammer gallery | NOWHERE OR 36 VIEWS OF FUJIYAMA
2010 Zurich, Zurich Art Fair | hammer gallery | NOWHERE OR 36
“VIEWS OF FUJIYAMA”
2007 Miami, ArtPhotoExpo | Miami Beach USA | ” SELECTIVE WORKS”
2006 Shanghai, Moca | Museum Contemporary Art China
LOVE @ FICTION “MANGA”
2005 Tokyo, exhibition Olympus Gallery | HEROES & MANGAS
2004 Hangzhou, China Art Academy | “ SELECTIVE WORKS “