© 2017 by Hiroshi Kariya. all rights reserved.

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Kariya expresses the definition of "self exists by another" in the creative principle of art. And we confine that recognition in the word "archetype".

Kariya displays multi media installation, photo documentation of countless magnified faces on transparent shelves, claiming that everything is his alter ego. Illusion itself into the word "archetype".

- Oneself is at the same time as all beings.
- All exist without question.
- Oneself is everything, everything is oneself.

Kariya deliberately chooses to encounter an "accidental" face, which it recognizes as "all that" its manifestation, that is, himself or oneself.


The source of work is a face from a news article pasted to a little finger sized small seed. On the reverse side of the seed, called the "seed sutra", the letter "the now is" or an identification number is attached.

(At first, it was to distribute a hundred kinds of masks to the audience, have them arbitrarily put on, verify the surface properties and enjoy the illusion, but with the emergence of coronavirus, this plan is anxious, so this time Modest. Is called.)


    刈谷は「自は他によって存在する」という定義を芸術の創造原理で表現します。 そして、その認識を「元型」という言葉に封じ込めます。







顔の実寸大の元は小指以下の小さな種に貼られた報道記事からの顔です。「種子経」と呼ばれるその種子の裏側には「the now is」という文字、または認識番号がふられています。





Born in Japan, Kariya moved to the United States in 1977, where he has been based in New York ever since.


Throughout the 1980s and 90s, Kariya became renowned for his prolific practice both in Japan and overseas, and has participated in numerous exhibitions, including an invitation to the Sound Show; a special project at MoMA PS1 alongside Vito Acconci, Nancy Holt, and Denise Oppenheim, where Kariya made a water pool sound instrument, and entered the pool to become the instrument himself as part of the work: the sound. Other exhibitions include his solo show “Sutra” at the * Note 1ICA, Philadelphia in 1990, and invitation in the four-artist show “Open System” at Art Tower Mito, Japan, together with CAI Guo Qiang.
In 2017, he had a solo exhibition entitled “It’s all about the one piece, and millions of others” where he showed the series “Seed Sutra” – fundamental to his daily work, in Tokyo after a long silence. A prototype of this installation has also been shown at the opening exhibtion of Mizuma & Kips and at The Armory Show in 2019.

For many years, Kariya has been developing work based on the concept of sutra, or string to bind the pages of book.

One of his work,  * Note 2“Seed Sutra” comprises of writing the three words “the now is” onto small amounts of seed every single day.

For him, the act of writing “the now is” pertains to pointing at an exact moment between reality/illusion, truth/false, and fabrication/creation.

Kariya began working on this piece in 1984 and has continued production on it ever since, with numerous interim pauses. This is what became the prototype for the new works shown in this exhibition.

For this exhibition, we will present an installation that has various faces separated from newspaper articles as well as articles with their faces cut out, placed on both side of the walls, to have the work all face each other.

These articles, named "face-off sutr" by Kariya, serve as evidence that the faces did indeed exist at one time, and also serve as a reference.

Visitors not only see works of various faces displayed to cover the walls of the venue, but also get to walk on top of these artworks that are laid out on the floor. As you enjoy the installation, you will inevitably become part of the work and its space.


The image is enlarged from the process photo/video documentation of the work for each production, time after time. Seeds have a front and reverse.

On the other side, * Note 3 the face was cut out from the news article and pasted, it called “Face Sutra" by Kariya.

Wall installation, the image was taken from the video clips from those random layered of transparent specimen boxes. He call this "Transparent prison".

    The exhibition creates a space where the audience may walk on entered the work. Enjoy the surface illusion or participate in the work. Then, experiment and verify a new illusion.


* Note 1
    The ICA exhibition was divided into three parts, one of which was demolishing the temporary wall of the previous exhibition Ilya Kabakov and displaying it on the archeological grid. Behind the wall, temporary walls such as Andy Wahol and Christ were exposed. The waste materials were sorted according to the memories of the parties involved in the on-site work, and were arranged behind the “Memory Wall" installed at this exhibition. The audience examines the surface with the archeological markings.

* Note 2
    This is an ongoing production work that describes the three letters "the now is" on the front and back of a handful of bean seeds a day. Some have only one handful per day, and some have only one palm per day. As of December 31, 2019, the number reached to 1068850 tablets. Yet for him is a single sentence of "the now is".

     * Note 3

    This exhibition, seems the library of faces with the audience to participate as entering the exhibit field is. People may confused of their own identity.
Through the works, Kariya examines the illusions contained in a face individually, or just an object, maybe subject of its potential, and/or anonymity.
The meaning and impression of many faces scattered throughout in the gallery is left to the attributes and histories of the audience and presents a variety of experiences, the joy of puzzle with illusion.




刈谷の代表作は*注1ICA Philadelphiaでの個展「Sutra: One Thing In Everything: Everything In One Thing」展にて1990年に紹介されました。







    今回はその表側または裏側と呼ぶものに潜む「背景」をイリュージョン化します。展示の元型となるものは*注2「種子経」という作品です。豆粒大の実寸の姉妹作品は昨年、Armory Showで紹介されました。





    ICA展示は三部構成でその一つは前展示Ilya Kabakov展仮設壁の取り壊しを考古学グリッドに表示後取り壊し。壁の背後にAndy Wohol、Christなどの仮設壁等が露出した。廃棄材は現場立ち合い作業を担った当事者の記憶に応じ分類、今回展示設置の「記憶の壁」背後に配列された。観客は考古学表示が付された表面を検証する。

    一日一握り分の豆種子の表裏に「the now is」の三文字を記述する現在進行形の制作行為作品。一日一握一粒だけのもの、一日一握一掌だけのものもある。2019年12月31日現在で1068850粒になる。