2000s    2020    ARCHETYPE

             2018    O.BURAKHMEDI

1990s     1998    OMATA IZUMI

             1998    ERIC MEZIL

             1996    M.MIYATAKE

             1995    A.M.WEAVER

             1994    Y.KURABAYASHI

             1994    S.WATANABE

             1990    W.SOZANSKI

1980s     1979    OTHERS    BIBLIO|TEXT

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Installation Rendering at Mizuma+Kips Gallery, NY
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Masked Self Portrait of My Alter Ego, Photo Rendering
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Masked Self Portrait of My Alter Egos Photo Illustration
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Transparent Library of My Altor Egos
| Wyth, Bklyn, NY | Photo Illustration |
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| Ascending Masks | Photo Illustration |Wyth,Bklyn,NY |
 
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Face Specimen Box 2019-11-21
Face Specimen Box 2019-11-21

Face Specimen Box 2019-11-21 (3 unit for 1) Face Sutra Document Photo Image, work from 2019-11-21 thru 2019-05-15, Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

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Face Specimen Box 2019-11-12
Face Specimen Box 2019-11-12

Face Specimen Box 2019-11-12 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

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Face Specimen Box 2017-02-06
Face Specimen Box 2017-02-06

Face Specimen Box 2017-02-06 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

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Face Specimen Box 2016-12-26
Face Specimen Box 2016-12-26

Face Specimen Box 2016-12-26 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

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Face Specimen Box 2019-09-01
Face Specimen Box 2019-09-01

Face Specimen Box 2019-09-01 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

press to zoom
Face Specimen Box 2017-02-06
Face Specimen Box 2017-02-06

Face Specimen Box 2017-02-06 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

press to zoom
Face Specimen Box 2019-10-29
Face Specimen Box 2019-10-29

Face Specimen Box 2019-10-29 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

press to zoom
Face Specimen Box 2017-05-15
Face Specimen Box 2017-05-15

Face Specimen Box 2017-05-15 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

press to zoom
Face Specimen Box 2019-12-01
Face Specimen Box 2019-12-01

Face Specimen Box 2019-12-01 (3 unit for 1) Face Sutra Document Photo. Assembled of separate unit panels, each 16"x72"x1.5"(41x183x3.5cm) weather proofed UV resistance photo banner, plexiglass case

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Archetype

 The work is an installation composed of situated photographs: facial specimens are lined up in a transparent bookshelf storage, image covered with the entire wall. It is the library shelves, and each container has numbers of face masks lined up. The storage is transparent, the groups of faces situated on another layers of the containers behind. 

 The arrangement of faces is casual and lying arbitrarily. Each facial expression captured in a snapshot, set to be an emotional, sentimental, or inquiring, otherwise transparent, prison-enclosed expression.

 The exhibition is a confined face. Corresponding to the experience of the audience, its appearance may be a bleached neck or sinner, despair, prayer, or a glorious look. 

   They are also expressions of joy, beauty, ugliness, mistakes, deception, betrayal, and abandonment. They are the coat of arms when representing different positions, different treatments, and different situation settings.

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Face Sutra

   The image is from the work "*1Face Sutra" of "Seed Sutra". An identification number is attached to the each face. Each one is an evidence to display that firmly existed in this world as a fragment of one self, the origin.

   Each is an absolutely unique code that carries the date, place, background, and story. The surface of the face towards the audience is a living witness of the historical background who talks about the emotions and sensibilities of life experiences. But they do not simply convey the surface of history, life, works, paintings, examples, faces, and souls. Each drop of stain is the archetype, and if you want rare, it will start anew from there.

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Concept

   Kariya documenting his passage of life with the simultaneous existence of all beings. In other words, he explains what all is with his own code obviously simple in three letters "the now is", and the description is expressed assimilating the act of engraving time on to the object: "That, right now, Everything is at the same time, and nothing is apart." 

   ① Existence is all at the same time.

   ② Existence is state of work in progress.

   ③ One is with all: all is with one.

   Existence originates from one source. In other words, it is the source. Therefore, all of the existence is inherent in one of the related movements that return to its source. Everything originates by itself with all together.

   Those that are now, these are changing shapes, not, not this, being the beginning, currently progressive wave, interlocking.

   The intent of the work is a record of the endless traces of the study process. *3 Art is an outlet towards regions where which are not ruled by time and space to live is, and is an explanation of existence in the form of free contemporary art by the artist.

Seed Sutra

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   Kariya describes three letters "the now is" in the amount of a handful, the illusion to grasp the world in his handful.

   The work is to cut out and paste a photo of a face from a daily newspaper articles. The proof of work is saved and recorded in the photograph and video documentation.

   The video image is adopted for this exhibition which extended it to larger image is developed and transfer to a sculpture work.
 

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   * Note 1 Kariya began, from the time he came to the United States in 1977.

As this current show, the material used most is a small finger-sized bean seed.

   * Note 2 (The original plan was to have the audience put on masks and masks arbitrarily, and to display the video documents of the scene) was dropped in the press release when the work was announced with the advent of COVID-19. To avoid cause infection and anxiety. This project was suspended by the artist's will and was suspended, and a curfew was issued in NY city later.

   * Note 3 "art is an outlet towards regions where which are not ruled by time and space to live is to believe that my belief." Marcel Duchamp quote for the interview by Robert D. Graff

ABOUT (brief history)

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

 

  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, sanscrit, to bind the pages of book.

One of his work,  * Note 2“Seed Sutra” comprises of writing the three words “the now is” onto one handfull 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.

The work represents a tool for measuring its surface, through it to the illusion of meditation.

  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 sutra" 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.
 

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  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.


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    * 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.​

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元型

 作品は壁全体が透明な本棚仕様の収納庫に顔の標本が並ぶ状況写真で構成されたインスタレーションである。 イメージは図書館の書籍棚に顔、又は仮面が並び転がっている趣である。収納庫は透明で、背後にまた顔の群が幾層にも並び透けて見えている設定である。

 顔の配列は無造作で任意的に横たわっている。

ひとつひとつの表情は、それぞれがスナップ写真に捕らえられた類、感情や感傷、査問に対応、さもなくば透明な牢に収まった顔の標本である。

 展示は、幽閉された顔かも知れない、見え方は晒し首か罪人、奴隷、絶望、祈り、または栄光の表情かもしれない。それらは喜び、美しさ、醜くさ、間違い、騙し、裏切り、断念といった表情でもある。それらは異なった立場、異なった処遇、異なった状況設定を代弁する時の紋章かも知れない。

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顔経

 イメージの元型は*注1種子経、そして顔経と呼ばれる*注2実在の記録