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2000     2020    ARCHETYPE

              2019    TWIN CODE   双生記

              2018    O.BURAKHMEDI

              1998    ERIC MEZIL

              1996    M.MIYATAKE

              1995    A.M.WEAVER

              1994    Y.KURABAYASHI

              1994    S.WATANABE

              1990    W.SOZANSKI

1980      1979    OTHERS     BIBLIO|TEXT

             JUGEMUJUGEMU  寿限無寿限無

| NEWS FACE SUTRA|報道顔経 | DOCUMENTS | 8"x8"|
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| ARTUS SUTRA | 

| MIXED MEDIA INSTALLATION RENDERING | 2021 |
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TWIN CODE
 | MIXED MEDIA INSTALLATION RENDERING WIP | 
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 | WORK IN PROGRESS | IMAGE RENDERING | 2019~ |
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| FACE SUTRA | 顔種経 |

 | PHOTOGRAPH | 1991-1 | INSTALATION RENDERING | 2021 |
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| YUCCA VALLEY | PASS |

 | INSTALATION RENDERING | WORK IN PROGRESS |
| PHOTOGRAPH | MIXED MEDIA INSTALLATION RENDERING | 2021 |
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| PHOTOGRAPH | 20161718 | INSTALLATION RENDERING | 2020 |
 | 2003-11 | KENT AVENUE SERIES PHOTO | 2020 |
吾が遠縁の親族達の仮面図書館
Library of My Distant Relatives
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PHOTO: KEI MIYAJIMA
| FOSSIL CHALK | TDW INSTALLATION | TOKYO | 2011 |
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| MULTI MEDIA INSTALLATION RENDERING | 2020 |
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 | MERRY-GO-ROUND | PASS |

Video Pholograpy Rendering

2020's
2010's

2011

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"Wounded Mother And Her Children"

Making Fossil Chalks / The, Sign of The Times 3112011: mixed media, plaster with shredded news articles, chicken bones, studio debris, tone articles, memo paper, scrap metal, plastics, nails, screws, pencil leads, 24 karat gold leaf,...

Tokyo Designer's Week Art Fair, 2011

Mizuma Art Gallery, Tokyo

2000's

1980's

1990's

2000's

2000's

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Art Tower Mito Web Project:

In Memory of 911, 2001"

Seed Sutra with 4 Line Poem. 2001-2003.

ATM WEB

1994

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Art Tower Mito Web Project:

In Memory of 911, 2001"

Seed Sutra with 4 Line Poem. 2001-2003.

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| INSTALLATION | ART TOWER MITO | 1994 |
PHOTO: TAKU SAIKI
1990's
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PHOTO: TAKU SAIKI
33 Desk Top + Chairs, Survey scope plumb + Others
1990's

1990's

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Circumference ∑139+89 words
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"LAND BEFORE PEACE" Assad
"PEACE BEFORE LAND" Rabin
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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"

1980's

1980's

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Kariya's ongoing "the now is" 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

1970's

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Kariya's 1st New York FLUXUS

359 Canal Studio: former studio of Nam Jun Paik, Ay-O, the place FLUXUS was performed. Dick Higgins studio was downstairs. More

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| FACE SUTRA COLLECTIONS |

| MIXED MEDIA INSTALLATION RENDERING | 2020 |

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| Time Cut-Off Evidence | PHOTOGRAPH | 2018 |

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Face Off, NYT Magazine p83, 10/1999

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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

Laurie Anderson

Larry Rivers

David Hammons

Elizabeth Payton

Lorna Simpson

Erté

John Currin

Elaine de Kooning

Peter Halley

Futura 2000

Nan Goldin

Robert De Niro Sir

Ann Hamilton

Private Collection | CANADA

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Face-Off, NYT Magazine p84, 10/1999

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Face Wraps: left: 426, 425, 424, 423, 422, 421, NYT A12, 2/25/2007

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CATTELAN Face Off, 1/50 sequence, 4/23/2017, NYT ST6, Vinyl Banner

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ICA Phil, 1990

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1970's

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1980's

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ROCKET ATTACKS ATTACKS ... IN AFGAN VILLAGE
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ABOUT

 Hiroshi Kariya, born in Japan in 1948, has since moved to the United States in 1977* and has pioneered the art form of self-archaeology, turning the process of examining the archetypes of the concept of existence into works. Kariya presents a landscape of the concept of existence, the concepts that lead to existence, and the system that continues to explain them. On the surface, they appear to have been thrown away as mere traces.

 

 The photo, "TWIN CODE = Parallel Code,” is a work in which the "Face of Time" seed sutra is directly pasted onto the photographic record image of "OSDLM: Mother," which was exhibited at the 2019 NY Armory Show. The act of reference remains on the surface, revealing footprints before and after. The traces simulate an archaeological site excavation activity, concealing the illusion of intentional comparison. Is the world we see real or a holographic virtual reality?

 

 Kariya, who is a twin, duplicates the words of Genesis and Souseiki. He hints at the dynamic infinity of the immensity and subtlety of the false one and the unseen immortality. All physical properties on the surface are a repetition of self-created illusions where our beliefs are misplaced, and we continue to experience self-questioning.

 

 The image is a mirror, symmetrical, the left side is the right side, the front side is the back side, and the whole image invites you to imagine it. Mental images are non-spatiotemporal, non-physical, and ever-changing frequencies. The origin is here, the beginning becomes origin, and they are dancing and playing freely and no-ends.

 

  The writer continues to describe impermanence by using the alternating three-letter word "the" is now is the now is. “The” is the present moment. “The” is the face. “The” is the superficiality of human engravings, distinguishing between good and bad titles. Existence does not disappear and appear, it does not appear in a pretense that is always there, but rather it manifests itself in the “experience” that “consciousness” chooses, and it itself focuses on “the”. They occur and appear at the same time.

 

 In other words, writing down the three characters is to continue to explain everything else, and if you choose to do so, it is a creative act that continues endlessly. If he chooses, let him experience the immortality of materiality that evokes the dialectics of his production. He said that he was painting a realist painting of that landscape.

 

 Kariya uses images from the news media and refers to his own work as “News Painting" or “News Sculpture." It is used as evidence of social activity, a reference to materiality to time code. They also serve as his own archaeological evidence, proof of the source's roots. (→Return to image)

 

 "What is the purpose of your work?" It is a message to myself every morning. Enjoy life. Compassion for oneself, who is a physical being, and compassion for other alter ego at the same time. Meditating each meditating one. It is to keep learning as if.

 (OSDLM; One Stroke Dotted Line Mizuma, M also stands for Mind, Mirror, Miracle, Mother, Myriad, Maze, and More.)

 

 The series of works is currently in progress. The images are literally endless. A mirror reflects what our mind sees. There, the physical self does not see the void, but sees the impermanence of "that" present moment.

 

 *This art form is experimented with in his solo exhibition "Sutra" at ICA Philadelphia, 1990, on Ilya Kabakov's wall. → Sozansky articles

概要

双生記 (TWIN CODE)

 刈谷博、1948年日本生まれは1977年渡米以来*自己考古学芸術の形式を開拓、存在概念の元型を考察する過程を作品化する。刈谷は存在概念と存在化に至る概念とそれらを説明し続ける系の風景を呈示する。表面はそれらが単なる痕跡として放り投げられた趣である。

 

 上の写真「TWIN CODE=双生記」は、2019年NYアーモリーショウで展示された「OSDLM:母」写真記録画像上に「時の顔」種子経を上乗せした作品である。前後の足跡が露呈する参照行為が表面に残存している。痕跡は考古学サイト掘削活動に擬似し意図的比較のイリュージョン性が隠されている。吾々の見る世界は現実又はホログラフィックな仮想現実?を問う。

 

 双生児である作家は創世記と双生記の言霊をダブらせる。見せかけの片方と見えない不滅の膨大・微妙のダイナミックな無限性を暗示する。表面の一切の物性は信念が見違える自作自得の幻想の繰り返し、吾々は自問自答を経験しつづけているという風景である。

 

 画像は鏡、左右対称、左側が右の画像を、表面が裏側の存在を、画像全体が心象へ誘う。心象は非時空間、非物質性、変化存在しつづける。元も末、始りは終り、自由自在勝手奔放に躍り飛び交い遊んでいるという。

 

  作家は無常を「the」 is now is the now is三文字交互連続を記述しつづける。「それ」は今現在である「それ」は顔である「それ」は善悪呼称区別人間刻込の表面性である。存在は消え現れず常に在る見せかけに「意識」が選びとる「体験」に存在を現し自身が「the」に目を凝らす。それは同時に起こり一時的に現れ消える。

 

 三文字を書き記す行為は、外側のありとあらゆることの説明の系で閲覧も及ばず、存在概念を脱ぎ、集中の内側へ向かう。瞑想滅入に制作弁証法の波動とともに物性不滅を感受する。無意識、無存在、無空転リアリズムの連動を活き至福に翅て飛び融合の渦に清々するのである。

 

 刈谷は、ニュース媒体のイメージを使用し作品を「報道絵画」または「報道彫刻」と呼ぶ。俗社会に向けた情報社会の証拠、時間コードという物質性の参照に用いられる範例である。同時に、制作上の考古学的な証拠、ソース根拠裏付出典索引の機能を果たす。  (→画像に戻る)

 行の目的は、毎朝の改め祈り。生の営み苦楽悦び、物性存在の己を慈しみ、同時分身の他を慈しむ。瞑想するそれぞれひとつに瞑想する。ついには忘れ、また忘れ、更に忘れ、時に思い出し、また次に行けるように。

 (OSDLM;One Stroke Dotted Line Mizuma、 M は, Mizuma Art Gallery, Mind=心, Mirror=鏡, Miracle=奇跡, Mother=母, Myriad=無数, Maze=驚, and More)

  *この自己考古学芸術形式はICA Philadelphiaにおける個展「スートラ」1990年にて、イリヤ・カバコフの壁で検証実験された。→ソザンスキー表論文

CONTACT

2000     2020    ARCHETYPE

              2019    TWIN CODE   双生記

              2018    O.BURAKHMEDI

              1998    ERIC MEZIL

              1996    M.MIYATAKE

              1995    A.M.WEAVER

              1994    Y.KURABAYASHI

              1994    S.WATANABE

              1990    W.SOZANSKI

1980      1979    OTHERS     BIBLIO|TEXT

             JUGEMUJUGEMU  寿限無寿限無

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