Successive own masked libraries. Installation rendering
2020's
2010's
1990's
2000's

1980's

1970's

Successive own masked libraries: I was all of them, time and again.
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

"Face Sutra II Carousel Masks"

 
 

2010's

TDW_1
2011311-A11
2011311-A10
2011311-A9
2011311-A8
2011311-A7
2011311-A6
2011311-A5
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2011311-A3
2011311-A2
2011311-A1

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, 2011

Mizuma Art Gallery, Tokyo

 

1980's

2000'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
 

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" sutra on various objects; shredded page of Bible+Quran+Heart Sutra+NYT, World Atlas, post cards, old snap photos, portfolios, portrait photos, missing child milk crates, memos, drawings, card boards, chicken bones, pork bones, ox bones, receipts, stickers, sea shells, stones, Hudson 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 others. Exit Art, 1989, ICA Phil, 1990.

 

1970's

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

Kariya moved in to

359 Canal Studio, 1978, former studio of Nam Jun Paik, Ay-O, the place FLUXUS was performed. Dick Higgins studio was downstairs. Landloard was by Trump management. More

Mizuma+Kips, NY Installation "Archetype"

3/4-4/5/20, COVID-19 interrupted The Show.

John Baldesari

Ed Ruscha

Howardena Pindell

Vito Acconci

David Wajnarowvicz

Mike & Doug Starn

Damien Hirst

Claes Oldenburg

Joan Mitchell

Andy Warhol

Annette Lemieux

Rosemarie Trockel

FACE OFF, Evidence, NY Times Article 2018

FACE OFF, EVIDENCE, NY Times Magazine Article p 83, 10/1999

FACE OFF, EVIDENCE, NY Times Magazine Article p 84, 10/1999

FACE OFF, EVIDENCE REVERSE, NY Times Magazine Article p 85, 10/1999

Donald J. Trump

"Face Sutra", work in progress: from left: 426, 425, 424, 423, 422, 421, NYT A12, 2/25/2007

CATTELAN BANANA BANNER, frame by frame sequence, 4/23/2017, NYT ST6, Vinyl Banner, 4'x6'

ICA Phil, 1990

6.gif
ARMORY 2019 degital prep
 

ABOUT

   Over four-decade career in the United States, Hiroshi Kariya continues to study his own ontology, semiotics, and archetypes through contemporary art. The characteristic of his work is writing of 3 words. Kariya writes "the now is" on the various objects to express its own composition, presence, and with action complete. It is to connect everything, to focus, to re-member all at once what is all about. Then through it to investigate the illusion of its work. The work were exhibited in a solo exhibition "SUTRA" at ICA Philadelphia, in 1990.


 

   -The composition-
 The composition of "the now is" are used as a code to connect all the works. It expands the meaning in that they are both a codex and its own creation. It presents the structure of the trinity of "subject, phenomenon, and its existence." Kariya gives the endless concept of the quest. What is the subject, what is the phenomenon, what is the existence, then what all this about? It functions as a tool to ponder what "the, now, is" is. It leads to the endless loop of the search. The work results in the act of confronting and observing the illusion of the real world and continuing to verify the ambiguity of the viewpoint.

 

   -About The Face Sutra-
   The feature of the work is that the surface is shown as a "structure", the front is the back = the background, and the back is the structure that is everything else, including the prejudice of the audience. The surface is a superficial painting created by combining fragments and a process of trial and error, using a “narrative body" as an element. Here, the work is presented as a step-by-step stamp of life. Imprinting the production process implies matters and events and relationships with the whole world. It must include the work of consciousness that originates in relation to society and leads to the spirit from dust, trial and error, and mistakes.

 

    -About The Armory Piece-
   At the 2019 Armory Show, Kariya added the sentence "Law and Order / His" to the exhibition of this sister works. In the case of his own paintings, there are countless clings, backgrounds, and support for all beings. Because he wants to present one definition there. What is called "wrong" What is read as "correct", what is called "accidental" or "necessary" is a sign, all written at the same time as the single phrase "the now is".  

   Kariya examines the dialectic that goes back and forth between objectivity and subjectivity, artificial concepts and realistic mechanisms, and fictional structure and creation.

   At the solo exhibition "Archetype" this spring, it was a enlarged photo documented of a "face sutra" work, as apart of show in which the audience was asked to wear a face mask arbitrarily, but the exhibition was closed early with the arrival of COVID 19. The image source of the face is a cutout and pasted on the seed, that was randomly selected from a newspaper article.

   Everything is inevitably exposed. It also includes what you commit = what you do wrong. If the audience happens to encounter a three-letter gap that they find by chance, that gap may be the three letters of prayer if we can tolerate the mistakes of the brushes of the criminals in society, as if we were to encounter the drips of the paintings that we happen to see.


  “Sutra” Sanskrit; a string or string, a string that binds a book, or a scripture. Sacred code, code, or line to measure.

  Kariya has exhibited early year at the MOMA PS1 "Sound Show, for the special project: Meditation" 1979. Exit Art "Sutra", 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing", 1990, "Donaiyanen" ENSBA, Paris, 1998, lectures and exhibitions at other organizations, public institutions, museums, galleries.

 

ABOUT

 在米40年以上のキャリアで刈谷博は現代美術による独自の存在論、記号論、そして元型を検証する表現を研究し続けている。彼の作品の特徴は、三文字の言葉の記述です。刈谷はさまざまな素材に「the now is」と記述することで、存在し完結する独自の創造行為を完了します。それは、すべてをつなぎ、集め、すべてを一つにつなぎ合わせることです。 その経過の作品を通し仕事のイリュージョンを検証します。それらは「お経」という個展で公開されました"SUTRA" ICA Philadelphia, 1990


 ー「the now is」の三位一体ー
 「the now is」の構成はすべての作品をつなぐコードとして使われています。それはそれらが自らの指示体であり自身の創造体であるという意味に拡張します。三文字は「主体と現象とそして自己存在」の三位一体の構造を提示します。刈谷は探究に無限の概念を与えます。主体とは何か、現象とは何か、存在とは何か、だからどうなんだ。この時点で「the、now、is」とは何かを考察する道具として機能させます。それは検索の無限のループに誘います。その結果、現実世界のイリュージョン性に立ち向かい観察し、視点の曖昧さを検証しつづけるという行為が生まれるのです。

 

 ー表面経または顔経ー
 作品の特徴は、表面が「構造」として表現され、表とは裏側=背景のことであり、裏側が観客の偏見を含む他のすべての構造が表面性を定義づけているということを提示します。 表面は「物語性の体系」を要素とし断片と試行錯誤のプロセスなどの混合で作られた表面的な絵画です。ここで、作品とは段階的な生命の刻印として提示されます。制作プロセスの刷り込みは、 事柄や出来事、そして全世界との関係。それは、社会に関連して始まり、ほこり、試行錯誤、そして間違いから精神につながる意識の働きも含まれなければならないのです。

 

 アーモリショウ作品ー
  刈谷は2019年のアーモリーショウで「法と秩序/誰彼の」という文章を姉妹作品の展示に添えた。彼の絵の場合には無数のしがらみ、背景、全存在のサポートやしがらみが付いてくる。そこに次の一つの定義が提示される。「間違い」と呼ばれるもの「正しい」と読まれるもの、「偶然」、又は「必然」と名指されるものは単なる記号である。全てはこの一句「the now is」の同時に記述される。刈谷は、創ることと虚構の構造に客観性と主観性、人工的な概念と現実的なメカニズムの間を行き来する、創りの弁証法をそうやって検証する。


 

 今年春「Archetype」個展の一つのイベントに於いて観客に任意に顔マスクを着用していただく「顔経」作品を予定してあったが、COVID19到来で展示は早期に中断、閉鎖された。素材の顔のイメージは新聞記事から任意に選んだ時のしるし、切抜きを種子経の片面に貼ったものである。

 すべては必然として表出する。そこには犯すもの=行為を誤ったものも含まれる。観客が、偶然に見出す三文字のズレに出逢うとするならば、それは、たまたま目にする絵画の筆の滴りのズレに巡り合うように、社会の犯罪人の筆の誤りと許容していただけるだろうか、その祈りの三文字かもしれない。

 「経」サンスクリット語;糸、または紐、本、または教典などを綴じる紐。

  神聖なコード、暗号、または測定する線。

 刈谷は渡米後「SOUND SHOW」MOMA PS1、1979。「スートラ」EXIT ART, 1989。「スートラ」ICA Philadelphia, 1990。「どないやねん」 ENSBA, Paris, 1989, 他各諸団体、公共機関、美術館、ギャラリーなどで講演、展示。

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© 2017 by Hiroshi Kariya. all rights reserved.