
Re-Assembled Used Sheet Rock After Hidetoshi Nagasawa
Exhibition:12'x30'x2"
Art Tower Mito, Ibaraki, Japan, 1994

Red Paint on canvas, hunted behind the wall. 10'x12'
Art Tower Mito, 1994
Mask of The Times 2016-2019
Weather proofed,UV protected photo banner, plexiglass
Assembled of 45 Units:12'x30'x2"
Project rendering installation at Wyth, Bklyn, NY
The Man Who Was Given 1 Million+ Face Masks
Installation Rendering, Mizuma+Kips, New York


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Rendering video image projection
Prison Sentence
Prison as Site
Prison as Subject
Installation: Hiroshi Kariya
Painted Bride Gallery, Philadelphia, 1995
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"Wounded Mother And Her Children"
Fossil Chalk series: mixed media, plaster with shredded printed news article titles, twitter articles, room dust, studio debris, plaster debris, left over articles, cloths of writings, paper scrap, scrap metal, plastics, nails, screws, pencil leads, job site debris, and/or plastics, rasin, silicon...
Tokyo Designer's Week Art Fair, 2011
presented by Mizuma Art Gallery, Tokyo
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Trash And Debris
-ICA Philadelphia 1990, "Sutra", Phil. PA
-Ihara Ludens Gallery 1992, New York
-Sparks Gallery II 1993 "In Memory of 1992"
-Mizuma Art Gallery 1994 "Sign of The Times"
-Mizuma Art Gallery 1995 "Chalkboard Sutra"
-Mizuma Art Gallery 1996 "Emptiness"
-Mizuma Art Gallery 1997 "Parallel Chalkboard"
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Kariya's painting is his "is the now" sutra writings on various objects by random picks; shredded page of Bible+Quran+Heart Sutra+NYT, World Atlas, post cards, old snap photos, portfolios, portrait photos, missing child milk crates, memos, drawings, card boards, chicken bones, pork bones, ox bones, receipts, stickers, sea shells, stones, Hudson drifted wood, construction debris, sheet rocks, craft papers, shopping bags, paper bags, duct tapes, sheets, cloths, anonymous photos, found woods, picture frames, napkins, trashed memos, plastics, old records, record tapes, rices, beans, seeds, dried bread, pasta, and millions of others. Exit Art, 1989, ICA Phil, 1990.
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Kariya's 1st New York FLUXUS studio:
359 Canal Studio: former studio of Nam Jun Paik, Ay-O, the place FLUXUS was performed. Dick Higgins studio was downstairs. More
2020
Mizuma+Kips, NY Installation "Archetype"
3/4-4/5/20, COVID-19 interrupted The Show.
John Baldesari
Ed Ruscha
Howardena Pindell
Vito Acconci
David Wajnarowvicz
Mike & Doug Starn
Damien Hirst
Claes Oldenburg
Joan Mitchell
Andy Warhol
Annette Lemieux
Rosemarie Trockel
2019

FACE OFF, Evidence, NY Times Article 2018
2020
FACE OFF, EVIDENCE, NY Times Magazine Article p 83, 10/1999
2020
FACE OFF, EVIDENCE, NY Times Magazine Article p 84, 10/1999
2020
"Face Sutra", work in progress: from left: 426, 425, 424, 423, 422, 421, NYT A12, 2/25/2007
2020

2020
CATTELAN BANNER,1/50 sequence, 4/23/2017, NYT ST6, Vinyl Banner

ICA Phil, 1990
1989
1997

1970's

1970's


1980's




Rocket Attacks Attacks In Afghan Village
Photo banner, 4'x8', Image:B1 NYTimes 10/24/2001
Mizuma Art Gallery, 2018

Rocket Attacks Attacks In Afghan Village
Photo banner | 4'x8' | Installation Process
Mizuma Art Gallery | Tokyo | 2018






ABOUT
"What do you say you know about it other than your sensory experience?" Pavlovsky enlightens. With a career of more than 40 years in the United States, Hiroshi Kariya studies and verifies the illusions of his own archetype theory, semiotics, and ontology using the form of contemporary art.
Kariya's work begins with the intention of the three letters "the now is". He asks the existence beyond that intention. Existence is shown in a phenomenon glimpsed by its own explanation. Its essence is nothing more than an explanation of the physical world. But if manifestation is not a departure from the essence. The intention of the three letters and the act of describing them in the object should be a manifestation of their essence. This is because they are happening at the same time. The illusion of the resulting work seems to be the act of continuing to verify the archetypes of the support, structure and existence that never appear on the surface, rather than seeking it on the surface.
The three letters are intended to indicate existence. Intention is also a thread. It is a structure in which each word explains each other. It is the movement, the art of the Trinity that creates the concept and the existence of the work continues to be the index of existence.
① The / Index
② Now / One simultaneity
③ Is / Act exists
Kariya describes this "the now is" in the encounter with the object. The description differs depending on the object and is repeated to generate the "the now is" sutra. They are arranged in what are called time, place, and space, and are presented as the time of production. The three letters are a tool as a code that connects all the works. An illusion that connects events, objects, and people. Illusion is also "what do you know about it?"
The primal stage of the work were exhibited in his solo exhibition at Exit Art, NY in 1989, and following solo exhibition "SUTRA" at ICA Philadelphia, in 1990.
“Sutra” Sanskrit; a string or string, a string that binds a book, or a scripture. Sacred code, code, or line to measure.
Kariya has exhibited at the MOMA PS1 "Sound Show, for the special project: Meditation" 1979. Exit Art "Sutra", 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing", 1990, "Donaiyanen" ENSBA, Paris, 1998, lectures and exhibitions at other organizations, public institutions, museums, galleries.
ABOUT
「あなたの感覚の経験以外の方法で、あなたはそのことについて何を知っていると云うのか?」とパブロフスキーが啓発した。在米40年以上のキャリアで、刈谷博は現代美術の形式を用いて独自の元型論、記号論、存在論のイリュージョンを研究し検証しつづける。
刈谷の作品は、三文字「the now is」を意図することで始まる。その意図を存在の記号下で検証しつづける行為である。存在はそれ自身の説明によって垣間見られる現象に示される。その本質は物象世界の説明の域に止まるにしか過ぎない。だが、現れとは本質から離れるものではない、とするならば。三文字を意図すること、オブジェに記述する行為もその本質の現れなはずである。これ等は同時に起こっているからである。その結果としての作品のイリュージョンを表面に求めるより、むしろ表面に決して現れてはこない支持体と構造と存在の元型を検証しつづける行為=実践の秘密を提示するのである。
三文字は存在を指し示す意図である。意図とは糸である。単語それぞれがそれぞれを説明し合う構造である。その運動であり、概念を生成し、作品存在が存在のインデックスでありつづける三位一体の創造構造論である。
①The/ 指し示す
②Now/ 現在同時性
③Is/ 不滅存在
刈谷は、オブジェとの出逢いにこの「the now is」を記述する。記述はオブジェによって異なり、繰り返され「the now is」経を生成する。それらは時、場、空間と呼ばれる説明を以って配列され制作の時の刻として提示される。
三文字は、すべての作品をつなぐ符号と云う道具である。イベント、オブジェクト、および人々が一つにつながるイリュージョンである。イリュージョンとはまた「あなたはその元の何を素にしてイリュージョンというのか」と云う啓発である。
仕事は現在進行形の「経」であり、その初期作品が、1989年Exit Art, NYにて、翌年1990年にICAフィラデルフィアに於ける個展「SUTRA」で展示された。
「経」サンスクリット語;糸、または紐、本、または教典などを綴じる紐。
神聖なと呼ばれるコード、暗号、またはこれらを測り定める線。
刈谷は渡米後「SOUND SHOW」MOMA PS1、1979。「スートラ」EXIT ART, 1989。「スートラ」ICA Philadelphia, 1990。「どないやねん」 ENSBA, Paris, 1989, 他各諸団体、公共機関、美術館、ギャラリーなどで講演、展示。