HIROSHI KARIYA
BIO 2022 THE NOW IS 寿限無寿限無
Wounded Mother and Her Children
Story
The installation represents a prolonged act of meditation on immortality.
All pieces of the work, including scattered dust, has reason to exists for returning to its system.
"Don't just dump it, go and pick it up"
says my grandpa.
"There is nothing unnecessary, nor useless for all fragments".
They could re-assembled, it's a nature that resume to the original system again.
In the same manner, every one in "Creation" is a piece of one built into the function.
"Trash is God, Dust is Buddha", so is
"God is Trash, Buddha is Dust".
There should be no unnecessary,
nor no fragments with no place to go...
says my grandpa.
There must be a place where everything fits in a large puzzle.
And anything is a piece of Gods, a large puzzle that keeps becoming an essential part of the mechanism.
As I was a child and still is, we've been told to such a manner from my grandfather.
This work was born inspired by the catastrophe, large scale of earthquake hit, then Tsunami attacked in Tohoku, Japan, on March 11, 2011. As this work dedicated for the people who were shed home, people of deceased or missing, and with my missing relatives, friends.
This becomes a message to all spirit that they never varnished, yet they are one of those essential part of the systems, they exist in different form in this universe. (related article by W.Sozanski)
Images adopted here is from my hometown Kamaishi, first shocking image jumped in NHK broadcast video of Tsunami wave, and photo scene from my sis's destroyed home after Tsunami.
いのりの壁「傷ついた母とその子供たち」
ものがたり
全ての破片は散り散りになった粉塵も含め、もとに戻るための収まるべき場所がある。
「役立たねぇ破っ片などは何ひとつねぇ」
「捨てたぁっ、拾って来ぃ」
「寄せっばぁ〜元通りだぁ」
「創造」の中のあらゆるひとつひとつは、
機能組み込みの「その」破片である。
その「破っ片」は「創造」のひとつだぁ。
「瓦礫も神、塵も仏」、
「神も瓦礫、仏も塵」。
不要な破片など無えし、
行き場の無え破片っは
何一つっ無ぇんだ。
すべての断片／片割れは、もともとの
ひとつのパズルに収めぇる系の備えだぁ。
存在から消えてしめぇるっつこたぁなかべぇ。
如何なもんも形は変わっつも機能の一片、
仕組みの「要」だぁ、と幼少の耳の芯奥に
祖父の声が波超を震わせる。
作品は、2011年3月11日東北に起こった大地震、大津波によって家を流され、お亡くなりになられた、又は行方知れずになられた方々や、個人的な私の親戚、友人たちとの霊縁とともに生まれた。彼らの霊は姿、形、時を変え、永遠をずっと生きつづけているからである。
その日の早朝、突然、飛び込んできた驚威の映像は、釜石のチリ地震津波以来常設の設置カメラがとらえた「NHK緊急ニュース」だった。怒涛の激音に打っ壊され逆流するトタン屋根の山々、粉々に砕かれ分散し逆流を上る鉄コン、船、車、電信柱、家具、衣類の塊り、それらの残骸は私の身体、故郷がバラバラに打ち砕かれ分散し流されている惨状だった。
ここの掲載イメージは、津波が破壊した妹が住んでいたかつての残骸が伝える無言の記録写真の断片である。
HIROSHI KARIYA
Hiroshi Kariya was born in Japan and moved to the United States in 1977. He is a sculptor and painter based in New York. He is also a martial artist with a 6th dan in the Japan Karate Association and holds an International Instructor A-class certification. He taught at the New York branch dojo, Columbia University Karate Club, and other locations until 2017. In Japan, he was involved in international conference management, including acting as a representative for the UNESCO International Population Conference. He gained experience in international current affairs and fundamental communication issues. He continues to research archetypes related to the problems of the information society and develops a practical art form. His work is characterized by a continuous process of invention and development, exploring the archetypes of "self, intention, consciousness, object, and material," through a process of archaeological experimentation and research.
Kariya's art continuously inscribes a sutra, "Three Characters," that connects all phenomena. This sutra is "the now is," three characters that prove the simultaneity of the described phenomena and all things, including existence. Here, nothing is missing. Everything is equal and exists simultaneously as one, a concept he consciously presents.
(Sutra: a binding thread for compiling books, or a code, sacred code, measuring line, connection, tracing the origin, consideration, verification, a system of everything)
"Ito" means thread, intention. "To understand the intention" is "to clarify the intention." From the perspective of the Japanese concept of "kotodama" (the spirit of words), the world is one. Existence is nothing more than a living, virtual illusion of endlessly continuing chains and interactions, interpreted in countless ways. Meaning is something that humans arbitrarily create, a contrived agreement based on manipulation; the origin is always "now." That is, the origin is always the origin of the "kotodama" that is read as "beginning." Humans engage in the paradoxical act of endlessly searching for meaning, taking it seriously, enjoying it, and constantly dreaming new dreams.
Kariya's "ito" (thread/sutra) is composed of the three words "the now is." In this moment, the world exists simultaneously. This action and consciousness also exist simultaneously. Whether we are aware of it or not, everything exists simultaneously. Events, people, fragments, the universe, galaxies, concepts, thoughts, doubts, garbage, evil, good, beauty, ugliness, illusions, matter, and the void—everything exists as one at the same time. Therefore, self and other are one and the same, and blaming others may be meaningless.
The affirmation that "everything exists simultaneously now" is represented by the three characters "the now is." Action, the world, and description are realized simultaneously. The arbitrarily encountered matter/objects are described by the three characters "the now is," and the inevitable affirmation manifests itself. It is the oracular title of the simultaneous existence of the world. These are classified, stored, and given a time and place by time, location, and serial number, and presented as "living artwork pulses."
Kariya participated in the MOMA PS1 "Sound Show" special project: Meditation in 1979. In 1990, he held a solo exhibition at ICA Philadelphia, "Sutra: One thing in everything: everything in one thing." Since then, he has given lectures and exhibited at numerous museums and galleries.
ABOUT
刈谷博は日本で生まれ、1977年に渡米。ニューヨークを拠点とする彫刻・絵画作家。日本空手協会の六段で国際指導員A級資格認定所持の武道家でニューヨーク支部道場、コロンビア大学空手道部他などで2017迄指導。日本ではユネスコ国際人口会議など代理運営する国際会議業務に携わる。国際時事、コミュニケーション問題の基本を習得。情報社会の諸問題に関する元型を模索研究しつづける実践芸術形式を開拓する。作品は「自、意、識、物、素材の元型、その存在概念」を制作考古学、試行錯誤研究しつづける形式を発案、展開しつづける現在進行形を作風の特徴とする。
刈谷の芸術は事象全て一切をひとつに繋げる経文「三文字」を記述しつづける。その経文は記述事象と存在も含めた一切万物との同時性を証明する「the now is」三文字である。ここに、欠けるものは一切なく。全ては同等であり同時にひとつ存在している証明を呈示しつづける。
（スートラ：本を合冊するとじ紐、または暗号、神聖なコード、測定線、関連、元をたどる、考察、検証、一切の系）
「いと」は糸、意図。「意を図る」とは「意明示」である。日本語の言霊を視点とす、世界はひとつである。存在とは、如何ようにも解釈され限りなくつゞく連鎖連動の生きている仮想のイリュージョンでしかない。意味など、人間が勝手に作るもの、操作合意に基づくこじ付け、元とは常に「いまである」。つまり「元」とは常に「はじまり」と読まれる言霊が発祥である。人間の寿限無探求のパラドックス行為を深刻ぶって、楽しみ、新たな夢見に明け暮れるのである。
刈谷の「いと」糸＝経は、「the now is」という三つの言葉で構成される。このいま、世界は同時に存在する。この行為も意識も同時にある。意識しようがしまいがこの同時に全ては存在する。事象、人、欠片、宇宙、銀河、概念、思い、迷い、ゴミ、悪、正、美、醜、イリュージョン、物質、虚空一切がひとつ同時に生るのである。だから、自他同一、他を責めることは無意味になるのかもしれない。
「あらゆるものはいま同時に在る」その認証が「the now is」三文字の記述である。行為、世界、記述が同時に実現する。任意に巡り会う物質・オブジェは三文字「the now is」に記述され必然認証が現出する。世界同時存在の託宣称号である。それらは時、所、整理番号などで分類、保存、時場を得て「生きる作品パルス」として呈示される。
刈谷は、1979年にMOMA PS1「サウンドショー」特別プロジェクト：瞑想。1990年に「お経：ひとつが全てに、全てがひとつに」個展 ICA Philadelphia "Sutra: One thing in everything: everything in one thing", 1990,。以後、数多の美術館やギャラリーにて講演、展示。
BIO 2022 THE NOW IS 寿限無寿限無