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
2019-11-21-037
2019-11-11-041Agnes
2019-11-31-019
2019-11-21-036_edited
2019-11-21-037_edited
2019-09-13-014SusanSontag
2019-09-13-012
2019-11-31-019_edited
2019-11-11-041Agnes_edited
2019-Duchamp3_edited
2019-12-06-033_edited
2019-12-06-033
2017-02-06-49a
2019-10-12-062
2017-02-06-47
2017-02-06-478png
2017-02-06-40
2017-02-06-41
2019-10-8-002
2017-02-06-46
2017-02-06-51
2017-02-06-45
2017-02-06-44
2019-Catellan2_edited
2019-10-20-100_edited
2019-Catellan1
2019-11-27-102-_edited
2019-10-20-097Chaplin_edited
2019-10-8-003_edited
2019-11-08-049SpikeLee_edited
2019-Duchamp2_edited
2019-10-8-003b_edited
2019-10-12-062_edited
2017-02-06-50
2019-09-13-013snowden
2017-02-06-49
2019-10-20-100
2017-02-06-43
2019-10-8-001_edited
2017-02-06-42
2019-10-20-097Chaplin
2017-02-06-39
2017-02-06-478
2019-10-8-002_edited
2019-10-8-003b
8_edited
2019-10-8-001
2019-10-8-004
2019-11-08-049SpikeLee
2019-12-06-032
2019-11-27-102-
2019-11-21-036

"Carousel Mask of The Times"

Rendering video image projection

Prison Sentence

Prison as Site

Prison as Subject

Article By A.M. WEAVER

Installation: Hiroshi Kariya

Painted Bride Gallery, Philadelphia, 1995

 

2020

12
13
11
10
9
8
6
7
5
4
3
2
1
20170421-55~57blank
2

"Carousel Process of The Times"

Rendering hologram image projection

 

2011

TDW_1
2011311-A11
2011311-A10
2011311-A9
2011311-A8
2011311-A7
2011311-A6
2011311-A5
2011311-A4
2011311-A3
2011311-A2
2011311-A1

"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

 

1980's

2000's

2000's

1990's

maho20060128_4_1
Seed051023-1
ss20070116
agetate_x5
katrinaopt_1e2
ondanka2_a
macchiato_Ltrain
katrinaopt_1j2

Art Tower Mito Web Project:

In Memory of 911, 2001"

Seed Sutra with 4 Line Poem. 2001-2003.

 

1994

Art Tower Mito Web Project:

In Memory of 911, 2001"

Seed Sutra with 4 Line Poem. 2001-2003.

 

1990's

1990ica_1
90ICAPhila27
54 Erasers drooped from above
Parallel, Parallel, Parallel
Circumference ∑139+89 words
IseArt1996
Untitled1
IMG_0262
5
6
2
Bouquet_2
12
69
35
"LAND BEFORE PEACE" Assad
"PEACE BEFORE LAND" Rabin
93Mizuma7g
93Mizuma3
90Ihara1
90Ihara0

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"

 

1980's

89ExitArt5g
89ExitArt4g
89ExitArt1g
85~88BStudio13bw
85~88BStudio0g
85~88BStudio1g
85~88BStudio3g
85~88BStudio5g
85~88BStudio6g
85~88BStudio7g
85~88BStudio8g
85~88BStudio10g
89ExitArt7gc
89Exit_THE

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.

 

1970's

endlessformframe4
endlessformframe3
endlessformframe2
endlessformframe1
endlessformblank2
endlessformblank1
82~83Canal9
82~83CanalZig1
DasJetztIst
85~88BStudio9_edited_edited
IMG_0250
82~83Canal6

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

6.gif

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
Mizuma Art Gallery | 2018 | Rendering
 

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する。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。その意図の先を存在に問いつづける実践である。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は表面に求めるより、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にこそあっても良さそうである。

 三文字は存在を指し示す意図である。意図とは糸でもある。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芸術論である。

①The/ 指し示す

②Now/ 同時性ひとつ

③Is/ 行為存在すること

 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得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しての道具である。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「あなたはそのことについて何を下にして知っているというのか」

 

 仕事は研究進行形と呼ばれ、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。

CONTACT

  • Instagram

© 2020 by Hiroshi Kariya. all rights reserved.