It's All About The One Piece

And Millions of Others

Memory: Kabakov Wall

ICA Philadelphia 1990

2017/3/24 NYTimes A8+A9 Seed Sutra on top of New York Times articles back ground. Top, on Andrew Testa, bottom on Sergey Ponomarev's photo image.

 
 

1970's

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

Karina's studio at 359 Canal street was former studio of Nam Jun Paik, then Ay-O, lived there as FLUXUS activity was performed. Dick Higgins studio was downstairs...

More: 359 Canal Studio: FLUXUS Magnet

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

Self Portrait: "the now is" writings on various objects, (random pick + shred) page of Bible, Quran, Heart Sutra, NY Times, World Atlas, post cards, milk crates, memo papers, card boards, chicken bones, pork bones, ox bones, receipts, stickers, sea shells, stones, peble stones, drifted wood, construction debris, sheet rocks, craft papers, shopping bags, paper bags, duct tapes, sheets, cloths, old photos, found woods, picture frames, napkins, on top of memos, plastics, old records, record tapes, rices, beans, seeds, dried bread, pasta,...

Exhibited at Exit Art, 1989, traveled to ICA Philadelphia in 1990.

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"

4 Line Poem with Seed Sutra

Others

 
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 work, is made with plaster mixed 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

Mizuma Art Gallery, Tokyo

 
FLUXUS Magnet
Kariya's first studio, 359 Canal street was former studio of Nam Jun Paik, Ay-O, Tatsumi Orimoto, Kazu Butsuhara where FLUXUS activity was performed. Dick Higgins studio was downstairs.
With that FLUXUS magnet, he has 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, 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, Yoyo Friedrich, Saskia Friedrich...
 

It's All About The One Illusion

Hiroshi Kariya, born in Japan, is a New York based Sculptor and Meditation Creative. His diverse and playful artistic practice, which includes sculpture, and installation, explores the conceptual aesthetic of things through random encounters of materials, re-assembled situations and spatial relationships.

 

His work is an expression of the world to grasp through his verbal tool. He produces the key element as a window to investigate the illusion of “the now is”. The illusion,

if any, for him, would be his paradoxical entry to another illusion, the reality.

 

His fundamental characteristic tool is "the now is" writings on the various objects.

It is a verbal tool to contemplate that everything is “obviously” exist simultaneously, and is right to be ponder what all is connected right now, right now, right now. 

It is for sure, nothing is separated, nor missed at the same moment in his "the now is" concept. Yet, it must be still within his verbal content, there is nothing built in meaning, but we added up with meaning.

 

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 other museums and galleries.

 

CONTACT

© 2017 by Hiroshi Kariya. all rights reserved.

  • Instagram