Successive own masked libraries: I was him, she, this was that.
Rendering Installation View
2020's
2010's
1990's
2000's

1980's

1970's

GO TO
CURRENT
Successive own masked libraries:
I was him, she, this was that.
Rendering Installation View
 
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

"Rotating Transparent Assemblerd Masks"

Image source from Face Sutra (cut out news article,

and pasted on a small seed)

 
2020's
12
13
11
10
9
8
6
7
5
4
3
2
1
20170421-55~57blank
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"Rotating Transparent Assemblerd Masks"

Image source from Face Sutra (cut out news article,

and pasted on a small seed)

 
2010's
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, Tokyo, 2011

presented by Mizuma Art Gallery, Tokyo

 

1980's

2000'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"

Daily work of 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

-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"

 

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 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.

 

1970's

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

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

Go To ARMORY 2019
 

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.

Contact

© 2017 by Hiroshi Kariya. all rights reserved.

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