Hiroshi Kariya is a Japanese artist known for his "Self-Archaeological Art"—a practice that explores concepts of existence and meaning through various media, including collage and painting. His work frequently incorporates elements drawn from news media and personal artifacts, thereby deepening his inquiry into the nature of reality and perception.
What are the central themes in Kariya’s "Self-Archaeological Art"?
Self-Archaeological Art
Hiroshi Kariya is a Japanese artist known for his innovative approach to Self-Archaeological Art. His work explores themes of existence, words and meaning through various mediums.
"TWIN CODE = Parallel Code": This piece was exhibited at the 2019 NY Armory Show and features a photographic record that simulates an archaeological excavation.
"News Paintings" and "News Sculptures": These works incorporate news media articles and images, critiquing the information society.
Kariya has participated in numerous solo and group exhibitions, showcasing his unique perspective on art and existence. His works are held in various galleries, including Mizuma Art Gallery, where he continues to be a significant figure in contemporary art.
This term was conceived by Hiroshi Kariya in 1990, on the occasion of an exhibition at the ICA Philadelphia. It represents an endeavor—conducted through the very process of creation—to explore and express the nature of our creative origins (or, conversely, of destruction), as well as the "archetypes" that underlie existence, reality, language, creativity, construction, meaning, and information; this inquiry spans the entire trajectory from the initial conceptualization of creative materials to their ultimate realization.
Kariya's self-archaeological art primarily explores themes of "oneness," the simultaneity of existence, and the relationship between representation and reality. His work often questions the nature of the present moment and the structures of social reality, using art as a means to reflect on and document these concepts.
Kariya's artwork often reflects on the relationship between reality and illusion, using elements that challenge viewers' perceptions. He incorporates news media by addressing contemporary issues and integrating visual symbols that provoke thought about societal narratives and the nature of existence.
"Everything exists in a state of simultaneous flux."
"Nothing whatsoever is left out."
"This includes the invisible—even refuse and evil."
Kariya’s Self-Archaeological Art proceeds in three steps: First, ① it contemplates the "Subject"—the one undergoing the experience. Next, ② it conveys "that" consciousness. Finally, ③ it records "that" existence. The simultaneity of these three elements is realized in the three-word phrase: "the now is."
Along this journey, Kariya creates objects designed to verify the locus of this inscription. The very materials used for this verification are presented as the artworks themselves. Furthermore—recognizing that representation is in a state of perpetual change, and that "existence" resides within this very flux—he presents these verification materials (which serve as a *semblance* of that movement) aas a single, simultaneously existing life form.
The underlying concept is that of simultaneity; it continuously conveys the message that absolutely nothing is excluded from this totality. Fundamentally, the objective of Kariya’s work is to sustain the conscious awareness of this very act of perception.
His artworks incorporate every conceivable event that occurs during the creative process: errors, revisions, fabrications, discarded materials, traces of trial and error, reworkings, and even the traces of mere semblances.
Hiroshi Kariya’s Self-Archaeological Art primarily explores themes such as "Oneness," the simultaneity of existence, and the relationship between representation and reality. His works frequently pose questions regarding the essence of the present moment and the underlying structures of social reality, utilizing art as a vehicle to contemplate and document these concepts.
What techniques does Hiroshi Kariya use in his work?
Hiroshi Kariya uses techniques such as Japanese ink, vinyl resin, and acrylic board in his collages and paintings, often incorporating materials like paper towels and scotch tape. His works explore themes of simultaneity and the relationship between representation and existence.
Many of Hiroshi Kariya’s works delve deeply into the relationship between reality and illusion, employing elements designed to challenge the viewer's perception. He integrates aspects of news media by drawing upon contemporary social issues as subject matter, and by incorporating visual symbols that encourage contemplation regarding social narratives and the essence of existence.
Background: Water pool light+sound installation, 1979 MOMA PS 1
You may focus "the now is" only time for every moment.
Time is the human invention, no such thing exists.
Brahma: the absolute.
1 Brahma Day: 4,320,000,000 years
Our universe is less than 2 Brahma days old: 8,640,000,000 years
Background: Water pool light+sound installation, 1979 MOMA PS 1
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MOMA PS 1
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GOWANUS MEMORIAL
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GOWANUS MEMORIAL
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MOMA PS 1
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MOMA PS 1
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GOWANUS MEMORIAL
