Successive own masked libraries: I was him, she, this was that.
Rendering Installation View
Successive own masked libraries:
I was him, she, this was that.
Rendering Installation View
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"Rotating Transparent Assemblerd Masks"
Image source from Face Sutra (cut out news article,
and pasted on a small seed)
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"Rotating Transparent Assemblerd Masks"
Image source from Face Sutra (cut out news article,
and pasted on a small seed)
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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, Tokyo, 2011
presented by Mizuma Art Gallery, Tokyo
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Art Tower Mito Web Project:
In Memory of 911, 2001"
Daily work of Seed Sutra with 4 Line Poem. 2001-2003.
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-ICA Philadelphia 1990, "Sutra", Philadephia
-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 Landscape"
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Kariya's signature work "the now is" writings on various objects by random picks by chance; shredded page of Bible+Quran+Heart Sutra+NY Times, World Atlas, post cards, old snap photos, discarded portfolios, portrait photos, daily milk crates, memo papers, drawings, card boards, chicken bones, pork bones, ox bones, receipts, stickers, sea shells, stones, pebble stones, Hudson river pier 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, billions of others.
Exit Art, 1989, traveled to ICA Philadelphia in 1990.
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Karina'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.
Mizuma+Kips, NY Installation Digital Rendering "Archetype", 3/4-4/5/2020
FACE OFF NY Times Article 2018
FACE OFF NY Times Magazine Article p 83, 10/1999
FACE OFF NY Times Magazine Article p 84, 10/1999
FACE OFF NY Times Magazine Article p 85, 10/1999
FACE Collage on bean seed 426, 425, 424, 423, 422, 421, NY Times A12, 2/25/2007
FLUXUS Magnet
Kariya's first studio, at 359 Canal street was the place FLUXUS activity was performed. Dick Higgins studio was downstairs, his former studio of Nam Jun Paik, then Ay-O, Tatsumi Orimoto, Kazu Butsuhara.
With FLUXUS magnet, Kariya begun meeting and linking with Peter Frank, Bettina Riedel, Bernd Jansen, Alanna Heiss, Alex Kayser, Johannes Lenhart, Hilmer Bolero, Wolfgang Luy, Raimond Van Weil, Wolf Kahren, Yasunao Tone, Takahiro Iimura, John Cage, Cles Oldenburg, Cyril Christo (Christo's son), Keiji Uematsu, Richard Nonas, On Kawara, Hiroko Hiraoka, Inge Mahn, Vito Acconci, Nancy Holt, Bruce Fier, Dennis Oppenheim, Wolfram Erber, Monika Baumgartl, Stephen Reichard, Joseph Beuys, Arno Jansen, Dorothée Bouchard, Bert Gerresheim, Daniele Spoerri, Günter Uecker, Hilla Becher, Ushio Shinohara, Hiroshi Sugimoto, Shintaro Tanaka, Kosei Sasaki, Kazuo Kawasumi, Tadayuki Naito, Satoshi Nakazato, Gilbert Hisao, Susan Weil, Bernie Kauchenburg, Robert Rouchenburg, Doug Olsen, Nobu Fukui, Burd Breivic, Isolde Wahrin, Yoshi Kakedo, Jeanett Ingberman, Papo Colo, Kunie Sugiura, Walter De Maria, Yoyo Friedrich, Tim Steel, Sueo Mizuma, Saskia Friedrich, and hundred, thousand, ...
ABOUT
The basis of Kariya's work is a record of existence. It is the existence of the self, the description, and the record in which the description exists. It is a verification of the illusion of who points to the description in detail, describes by what, and how it reaches existence and the meaning.
Kariya began this act from the time he came to the United States in 1977.
Currently, the material used most is a small finger-sized bean seed.
Kariya describes three letters " the now is" in the amount of a handful.
Cut out and paste a photo of a face from an organized number or a newspaper article on the back side. The resulting work is recorded in the photograph.
The printed photograph which extended it greatly is developed as a sculpture work.
.........
Kariya composed his Sutra, with three words "the now is”, his signature tool of non-state element, that concept a link whole events, object, dust and debris, bits and pieces, right or wrong, simultaneously.
And these 3 words are written millions of times on the works.
Just writings of 3 words, they convey 1: an index of an illusion, 2: a sense of immediacy and 3: the present tense, in which Kariya meditates the creation of each work.
It is to recall the element to investigate our believing system between the illusion and/or reality.
Then, to wonder what is the purpose of this physical matter of our experience of "the" now is, the "now" is, the now "is".
"Sutra", sanskrit; meaning literally thread or string to bind the pages of book, sacred code or measuring line.
Kariya has exhibited early year at the MOMA PS1 "Sound Show, special project: Meditation" 1979. Exit Art "Sutra", 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing", 1990, then follows various institutions, museums and galleries.
