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  • Law and Order / His

    This world is a twisting the reality and art is trying to bring you back to awareness to differ the illusion from the reality. The code is not out it is inside you. Kariya does this through his art, thriving “for the audience to experience, contemplate: to visualize the physical image within their timeless, dimension-less, space-less, matter-less, but within the state of endless being”. “Visualization is the key, landscape of life”, - says Kariya, “Landscape of making, landscape of creation or fabrication, documentation of direct making, rather represents the figures. My work is not to portray a subject, but to evoke.” However, it is all connected, my dear friends...”The Is Now”. That is why his mission and the main idea of his art - is “It is all about this physical world, including words, symbols, image, and thoughts. Illusion is what we believe 100 percent, not 99.9999999...%, as what our reality is all about to create or fabricate. Reality is what we believe 100 percent, not 99.999999...% in this physical world.” Artists are from this world, do not worry, but they know and see something you’ve forgotten. And the next time you will see a piece of art that is not so simple, be happy to meet the new level of awareness. Remember that art is to see the reflection of your own God in that mirror, made by an artist. Do not ask the artist to explain, cause your own God is waiting for you, not for information. And, anyway, one should know only that “It is about the One Piece and Millions of Others”... (on Hiroshi Kariya's work) Olga Burakhmedi 2018 Law and order / His . The intention for my work this time around, was to establish a distinctive law and order, and product of recording the matters related the whole creation. The illusions and meanings that contradict and adhere on the surface relates to the a priori of viewers’ law and order. The artwork is a document of my act relating to creation or fabrication and whole story is written or programmed under my law and order, with specific guide lines, directions, numbers, erasing marks, re-writings, mistakes, and where all traces left are hidden behind the layers of many surfaces. The surface that the audience sees is not what I have created, but something that pertains to a priori; relating to or derived by reasoning from self-evident propositions. However, it is also possible that what you see in the work may be an artist’s accidental drippings on the plate or canvas. Generally, from a distance, the characteristic of all images connects with the flow of energy, transparency, and reflection. Upon closer view, you may notice the details beyond the layered surfaces, and the flipped images. All pieces are fragmented, assembled, and connected. All pieces are relative to each other, guided by others, move in the same manner, and hold secret or hidden meanings. .
“What’s all this? Is it the seeds speaking?” The key might be in the writings, numbers, faces, seeds, or maybe in the question itself... The work seems to make you ponder and evoke such questions. .
Typically, an artwork is dependent on artist’s hand, through his passage to marking the work while under his law and order. The artwork is not to portray a subject, but to evoke. You may think you have found a mistake, but I don’t make mistakes; just joyful little calligraphic coincidental-drippings. Hiroshi Kariya 2018 法と令/自の 刈谷博は、コード(秘密)とは「イリュージョンとは何かを示す前提と、現実とは何かを示す前提」にあると述べます。 (前提、定義、理論、真実は人間の創作であると) この世界とは現実をねじ曲げて解釈されたもの、芸術は逆説的に観客の意識をその異なるイリュージョンから現実へとひき戻そうとするのかも知れません。(それ等を解読するための)コードとは外側にあるのではなく、あなたの内側にあるという。 刈谷は自分自身の芸術の方法を通してこれを行います。それは「観客自身が体験し熟考するものとして提示されます:時間・時代を前提としない、次元のない、空間のない、問題などもない、しかし無限にある存在と云う空のような内で限定された物理的なイリュージョンを視覚化する」ことを目論見ます。 「視覚されることはすべての鍵であり、生きている風景の隅々にある」と刈谷氏は言います。 「製作の風景、創造または物が出来上がってくる風景、制作実録として書き込まれる記述は、文というよりはむしろ数列を表しのようです。 私の仕事は主題を真似て描写することではなく、生起させること、主題そのものであること。」 そして、それらはすべてことごとくつながっています、私の親愛なる友人よ…「The Is Now」なのですね。 その目的に、彼の使命かも知れない、彼の芸術の主とするアイデアは、「言葉、記号、イメージ、思考など、この物理的な世界のすべてに潜んでいるのです。 イリュージョンとは、私たちが現実に実現化を図るものとして、99.9999999 ...%では実現しない。100%の実、私たちが信じる確固たる具体イメージで実現されるものなのだ、と刈谷は断言します。現実とは私たちが100%信じているものであり、この物理的な世界では99.999999 ...%では全く不足なのだと。 アーティストとはこの世界からやって来た人のことです。 心配する必要はありませんね。だが、彼らは私たちがが忘れてしまったことを知っているかもしれないし、ひょっとして、既に経験して、知っているのかも知れません。 そして、次の機会にあなたがそれほど単純ではない芸術作品を見るとき、新しいレベルの意識に会うことを嬉しく思うことでしょう。芸術とは、芸術家によって作られた、その鏡に映った自分の神と出会うことであることを忘れないでください。 アーティストに説明を求めないでください。情報ではなく、あなた自身の神があなたを待っているからです。 そして、とにかく、「それはたった一つの、そして何百万もの他のものについてである」ということだけを知っていればいいのです… 刈谷博 2018 @artkukhnia オルガ・ブラクメディ

  • It is all about the one piece and millions of others

    I certainly that I stepped into the space of mizuma Art Gallery exhibition was held twice. But at that time I was wondering where I really was? How I could think like the way I feel from this exhibit to see the detail consists of more equal-sized pieces and also superior of all spatial experience. And the space was a different dimension and sum of just one piece. I think in my own words in English of that “the now is” that Kariya, has been writing to the seeds since 1984. The specific of Demonstrative Pronouns of 'the' "now" present moment motion exists in space "is". Is not that the spatialization of time, shows that this term is a disconnected time. It can be said that the history of art of the 20th century or later is a history has expanded the representation of space in the dimension of time. For example that is up no trace of Jackson Pollock's abstract expressionist paintings with action painting of his time. Its time in organic actual time herein. But Kariya exhibition space represents from time of time in reverse. Kariya's seed Sutra shows first traces of life in his daily. His “the now is” written each day a handful of seed pasted the same Palm-sized transparent acrylic, one day “the now is” in the day, along with, we actually see in the Gallery of a myriad of the acrylic is the iterated accumulation. Seed flock while painting with acrylic plate of every different pattern as a whole come a huge movement of small particles. In this exhibition series, entitled “Face Sutra” further also were on display. Human face news photo article were collaged on the surface of the each seeds, and pasted on the acrylic, while on the other side “the now is” or “else” was written. Occasionally include the famous people in those photos cut out from the New York Times that, at a glance, but is most unknown person, and the whole face was cleared of a huge flock. In the human self face to ensure the identity of one of littleness to seed and anonymous that is transformed to a collection of materials. And you will find the work, entitled and should think of as a negative face Sutra series, on the left wall of the Gallery entrance, on top were on large photo display, with all face cut out image of "Rocket Attacks Attacks In Afgan Village' In a collage of news photographs depicting the Afghan villagers, standing mourning the bodies of men were covered with a yellow-green blanket that was killed by a Taliban-fired rocket-, news article entitled the article. Being clipped face here, and clear of seed-sized. pettanko et bozu a newspaper article which was changed in the face. Kariya made clear their face is that of death. In the denial of death, of emptiness. Behind the faces of the people of seed-sized of the same people I pettanko et bozu, are stuck face. I extinguished by the power of death and the myriad things changing. Seems to be deep and thorough flatness of Kariya's work also. Three-dimensional depth created by God there is "I" and the inner surface of support system does not exist. We are intently watching the surface of the acrylic plate of them were spread like piece of skin, that is possible. However, once you look closely at the acrylic sheet, and its screen is noticed can have a very expressive figure wrapped in vinyl plastic letter Board, paper, and ink of seed that emerges. Look closely the patterns of its diverse seed, wriggling in the genome of genes, from a distance, looks like human skin organic and sensual. Especially 3.3m by 2.1m sized large work, made specifically to fit this space of Mizuma Art Gallery, flock of seeds huge work of “Mizuma One Stroke Dotted Line, 10,000 pcs”, rolling very snake-like Figure-8-shaped, powerfully, was especially impressive in the exhibition. Let me return to my initial question, when I was enter this space. "I was there where Kariya entitled of this exhibition" It (it) "and named impersonal and anonymous space. The space has based repetitive acts of the day to day, then Kariya, after this exhibition going back there again. In the exhibition space is open to such mundane time because no beginning nor end it. Obsession with Kariya, such It is refer to On Kawara’s infulence from the seem to like high-impact. However, unlike Kawara which is closely approaching Lady Maid in the "TODAY" series which thoroughly implements conceptual anonymity, in Kariya's work manual workmanship is reviving. Shinichi Takeshige (Critic) by Google translation 1/13/2018~2/10/2018 Mizuma Art Gallery, Tokyo, Japan http://mizuma-art.co.jp/exhibitions/1801_kariyahiroshi/

  • Mizuma One Stroke Dotted Line 2017

    https://youtu.be/V7lkDTOi9rY

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  • Hiroshi Kariya | New York Based Artist | Jugemu

    TOP 2022 2020 2019 2018 2016 2014 2012Eng 1998 1997 1996 1995 1994 1993 1990 1989 1982 1981 1979 1977 2012和文 2020s 2010s 1990s 1980s CONTACT H SITE ​ PRESS ABOUT 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 JUGEMUJUGEMU 寿限無寿限無 |JUGEMU JUGEMU| 2022 2021 2020 2019 2018 ​ 2018 2014 2014E 2012J 2012E ​ 1998 1996 1995 1994 1993 1990 1989 1982 1981 1977 2022🔺 VOL ​ 2020🔺 2020 Anything I Choose Is Positive, Everything Is, Positive Is. The work "OSDLM 2017" is a collage, of a handful of daily works of "Seed Sutra", on a transparent plate. There are two layers, one on the front and the other on the 2nd layer behind, with seeds on the front and data of the work, instruction, quantity, location, mistakes, corrections, rewrites and fabrications, are behind. All is called creation or fabrication, you name it. ​ Hiroshi Kariya, OSDLM2017, Assemblage of Seed Sutra, Mizuma and Kipps, New York, 2020 ​ Boris Groys : ​ "If what is called life is recorded only narratively and cannot be presented, how such a record is exhibited in the art space without distorting its qualities. Is it possible? In many cases, art documentation is presented in the context of the installation, but the installation is not only the images and texts, other objects installed on the spot, but also the space of the installation itself. ​ It is an art form that plays a decisive role. This space is not abstract or neutral, but is itself a form of life. Thus, the documentation is an act of writing oneself into a particular space. Forming as an installation is not an act of neutral exhibition, but an act of storytelling in the dimension of time, so to speak, an act of writing to life, "said * Boris Grois. ​ * Boris Groys "Art in the Biopolitical Era-From Art Works to Art Documents" (2002, via installationia-blog ) ​ "2020 "The Now Is" Writing- In it Kariya records traces of life. His work uses news articles and events that tells the historical background of the production as a "Sign of Time". At the same time, he describes what the life is in his three letters "the now is", which began in 1977. These three letters are the one "Consciousness" that the artist intends to exist one with all beings at the same time . And to "Focus" nothing is apart from it. Our consciousness is a singularity within all beings. The total number of minds in this world is one. Kariya wrote this in his first solo show Exit Art, NY in 1989, following ICA Philadelphia in 1990. ​ Art is, of course, the recognition that it is free from all regulations from the beginning. We are created as one. Kariya presents in the field of art, saying "Art is a form that transcends temporality, partiality, and eventuality". We do not have to scream out for our freedom, a trap that the dictator's using our believing system to controll ourself to focus voice out. We were born free no matter what, unless you giving up your potential almighty power in the universe. ​ Well, the illusion and reality may be reversed when it comes to seeing it that way. Everything one tries to resonate the void with the holographic reality of "the now is". With only one mind is existing, we all have access to all knowledge within our DNA, it is time to re-member our true mission to get here earth. Immortal spirits descend and dance throughout the universe. -About The Composition- "The now is" is used as a code that connects all. The three letters reduce, conclude, and persist in the sense that they are their own directives and their own creations. The three letters are structures that simultaneously present the structure of the trinity of "subject, phenomenon, and self-existence." Kariya experiences an infinite reality in the act of continuing to describe. What is the subject, what is the phenomenon, what is the existence, these eternal imputable links. The descriptive body "the, now, is" is a tool for acting and observing. The description invites us to an endless loop of begins and ends of inquiry. In the middle of the act, based on a movement of practice that transcends the real world and illusion, it floats in the immortal void between the ambiguities of the source. ​ -About The Face Sutra- The work presents the surface as a "structure". The front is the reverse side, that is, the background, the explanation of the background, as hidden side is the constructed surface that induces the prejudice of the audience, implying that it is an imprinted definition. It presents that surface is a superficial story, and existence is an explanation by traces of "existence." Figuratively, the process of making called "story" is intentionally left on the surface as trace evidence of the description. The work is presented in the process of action, that is, as a passage of life. And what is included in the making process is the relationship between matters and events, that is, everything in the world. Here, another aspect of the work, the state of observing the world. This is due to social information, paying attention to all the social backgrounds hidden on the surface such as acts, operations, illusions, mistakes, recognitions, misunderstandings, inactions, deviations, learning, playing, etc. , The illusion of observing it is presented. -About The Armory Piece- Kariya added the statements "Law and Order / His" to the exhibition of additional works at the 2019 Armory Show. His paintings come with a myriad of shackles, backgrounds, support of all beings. The following definition is presented there. What is called "wrong", "correct", "accidental" or "necessary" is just a manmade sign. All at the same time is described in this phrase "the now is". Kariya examines the basis of the dialectic of creation, which goes back and forth between objective and subjective, artificial concepts and realistic mechanisms in the structure of creation and fiction. At the solo exhibition "Archetype" this spring, it was a enlarged photo documented of a "face of the time" exhibit, 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 COVID19 April Fool. The enlarged image source of the face is a cutout and pasted on the seed, that was randomly selected from a daily newspaper articles. ​ Everything is inevitably exposed. It also includes what you do right or 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. ボリス グロイス: ”生と云うものが説話的にしか記録されず、提示されることができないのならば、そのような記録というものは、その特質を歪めることなしにアート・スペースのなかでどのように展示されうるのだろうか。多くの場合、アート・ドキュメンテーションはインスタレーションのコンテクストにおいて提示されるが、インスタレーションというものは、画像や文章、その場に設置されるそれ以外のオブジェだけでなく、インスタレーションの空間そのものが決定的役割を果たす芸術形式である。 この空間は抽象的あるいはニュートラルなものなのではなく、それ自体が一つの生の形式をなしている。かくして、ある特定の空間へ自らを書き込む行為としてドキュメンテーションを一つのインスタレーションとして形づくることは、ニュートラルな展示の行為ではなく、物語が時間の次元で果たす行為と言える。 いわばそれは、生への書き込みという行為なのだ。”と* ボリス・グロイスは表現した。 ​ *ボリス・グロイス 「生政治時代の芸術ー芸術作品からアートドキュメンテーションへ」 (2002, via installationia-blog ) ー「「the now is」の記述ー 刈谷のそれは「書き込み」が生命そのものであること、存在であること、それを観察することを指し示す。作品には制作時の背景を肩書きする報道記事や事象などが使われる。作家は、作家と全存在のひとつの「意識」を三文字「 the now is 」の記述行為に構造化する。三文字はそして言語言語、物質、記述の三つを示し、それらがひとつの意識として同時に具現化するのである。「この三文字は全存在の同時と共に存在する符号である」意識が創造に至るのである。この構造の用法を道具として存在「情報」を観察する風景を提示するのである。 ​ 「時間性、空間性、事象性」という概念、凡ゆる規制は如何にして存在し始めたのか?空虚の窓から、この物質世界の捏造と創造のグリッドの情報を用いて吾々を管理し支配する操作の設計図を検証するのである。 ​ 因みに、イリュージョンと現実とが逆転する方法を試してみるのだ。すべて、ことごとく、ひとつが、虚空が 「 the now is 」の現実が、果たして自由奔放を生きているのか、その出来具合を邪魔だてする捏造を観察するのである。 ​ ー芸術という遊びのポジティブな波動を舞踊るのだー ​ ー「the now is」の同時ー 「the now is」は無明をひとつにする糸である。 三文字それぞれは存在するが、意味に至らない。三文字がひとつにつながり存在を表明する意図を表現する。三文字は「主体、現象、存在」の三位一体が同時に在り、ひとつの意識を現す構造体である。 作家は記述行為に不滅の現実を実践する。 本性、現象、存在すべてがひとつの意識、永遠未到の不可思議想空を実践するのである。世界 記述「the now is」は、意図、創造、行為を観察する道具である。 記述の真髄は実践の空虚に始終無限のループに同時存在する。 実践の波に還元し、現実世界、幻想、不空因果不滅やらのあやふやに忘れ惑い自由浮遊するのである。 ​ ー表面経または顔経ー 作品は表面を「構造体」として提示する。表とは裏側=背景の説明であり、裏側とは観客の偏見を誘導する構築された隠れた表面性、刷り込みの仕掛けを暗示 する。表面とは表面性の物語であり、存在とは「存在性」の痕跡による説明を受容したに過ぎない。比喩的に「物語性」という制作の経過を記述の痕跡証拠が故意に表面に残されてある。作品は行為の途上、つまり生命の説明として提示される。そして制作プロセスに含まれるものとは、 事柄や出来事、つまり全世界のあらゆるものとの関係を示している。ここで作品の側面は世界を観察する現在として浮上して来るのである。表現は社会情報に起因する。作為、操作、錯覚、錯誤、認識、誤認、無為、ズレ、学ぶ、遊ぶ、など隠れた一切の社会背景、総元締への意識が提示される。 本性は裏に潜んでいる。表に映るものは被写体の反転した存在を隠そうとする。本性を見抜くには、そのすべての面を忘れ去り目を閉じて心の内に見るのかもしれない。顔、表面、すべてをこころの内の虚に洞察するのである。 ​ ー 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/彼の」という文章を姉妹作品の展示に添えた。絵画の場には無数の葛藤、背景、経緯のしがらみの痕跡が残されている。「視点を変えよ」である。「間違い」または正しい、偶然、必然、意味、無意味、それらは人為的な記号である。全ては虚を思うが如く同時に「the now is」の下に検証されるべきである。作家は、創ること、虚構の仕掛け、客観性や主観性、概念と表現の間を行来する。筆の誤り=絵具の滴り、文字ズレ=人生の誤り、既 説、定義、捏造の弁証法など、基準の元を検証する。 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もらう「顔経」作品が予定されてあった、だが展示はCOVID19四月バカ 到来で早期に中断、閉鎖された。顔のイメージは新聞記事から任意に選んだ時のしるし、切抜きを種子経の裏面に貼ったものである。 ​ 思いつき、偶然、必然が刹那出現する。絵画には犯すもの=行為を誤ったものも含まれる。観客が、時に偶然見出す三文字のズレに出逢うとするならば、それは、必然、目にした絵画の筆の滴り、滲み、犯罪人の筆先のズレ、迷い、誤りの類い、それらは同時存在に落ち着いた三文字刹那の自然である。 2019🔺 2019 Hidden Trap Or Hidden Message How It Was Set Up The work is made as a document of making, with foot note directly left on the surface as painter’s brash stroke. It is in-facts as whole story was left on the surface under artist’s law and order, whatever is. It is to investigate wether we find any truth or just magical illusion of fabricated truth on the surface. What you "BELIEVE" is what is truth at that moment, but all is always changing as a state of constant influx.So is truth is no longer there, any more. Did you get it? or just you forgotten all. That is OK, get the another one. Don't stay on that line, proceed, or get rest sleep at night. Hiroshi Kariya “OSDLM 2018 Mother” The Armory Show, New York by Mizuma Art Gallery 2019 It is to create the illusion of Trap to manipulate your illusion Combine with Face Sutra and Seed Sutra. The work is made as a document of making, with pasted face articles cutout, as sign of the times collaged. The surface presents as painter’s sign of the time strokes. It is to create the new magical illusion on the surface. And all is changing, all is right. Hiroshi Kariya “OSDLM 2018 Her Children SR” The Armory Show, New York by Mizuma Art Gallery 2019 Turn Your Project Plan Page 164 to 461 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. All is you, sometime, in some where in another time line a million years ago, you just forget all. but you experiencing every matter of almost everything, individually to experience for the each character, species, but not all at once for the experience them all but individually... did you get it what is the all plan about? Turn the page. Hiroshi Kariya, “Archetype”, Mizuma and Kipps Art, New York, 2019 2018🔺 2018 Dream is reality, Reality is a programmed illusion Olga Burakmedi, Independent curator/ @artkukhnia Kariya Hiroshi says that the code is in “the index to point what is the illusion and the index to point what is the reality”. This world is a twisting the reality and art is trying to bring you back to awareness to differ the illusion from the reality. The code is not out it is inside you. Olga Burakmedi, “It’s all about the one piece, and millions of others, Mizuma Art Gallery, Tokyo, 2018 2018 We are all from the same source, we are the source His “the now is” written each day for the amount of a handful of seed pasted the same Palm-sized transparent acrylic, one day “the now is” in the day, along with, we actually see in the Gallery of a myriad of the acrylic is the iterated accumulation. Seed flock while painting with acrylic plate of every different pattern as a whole come a huge movement of small particles. Another part of this exhibition series, entitled “Face Sutra” further also were on display. Human face news photo article image were collaged on the surface of the each seeds, and pasted on the acrylic, while on the other side “the now is” or “else” was written. Shinichi Takashige, Real Tokyo review, 1/13/ 2018 ⭕️ 役立たず、捨てられるもの、という捏造 ​ この世には無駄、役立たず、間違ったモノ、偶然など存在しない。 チリ・ゴミ、馬鹿と呼ばれる一切は、価値・名誉・崇高などと名指されるものと同等であり、無くてはならない不可欠の理由、目的で存在している。つまり、それら分身、断片は、自らがこの世界の元神なのだ。だが、そこには学びのための、入り組んだ罠(目的)が仕掛けられている。そう簡単にはその仕組みの意図が、分からない仕組みを自らが仕掛けたのである。それが、そう簡単には見つからない仕組みにしたのもハイヤーセルフと呼ぶ自分である。意図とはそれを辿る糸という言霊である。意図には意、イメージ(図)が組み込まれ、念を発すると具体化を図れるという心鍵が隠されている。念とは今現在の全てに集中するという言語イメージが心を今の文字上に配したのだ。つまり、重心の方向に向かうが如く、エネルギーの方向を自ら全存在同時波動現在に発せ、という意味である。毎日の是現在の記述の理由がここにある。 ​ 物語に戻る: 人間の皮を被ったモノが人間を支配する目的で垢、糞、悪、醜という名称を植えつけ登場した。勝手な法を勝手に操作し取り締まる輩を存在させた。 ​ 全てのものがひとつであるなら、操作のソースも、この存在のソースである。己の元とは目的を持つ存在の系の要であり、存在の異なった側面の現れ、役割として、それぞれがそれぞれを補完し合い、その理由を、問うものとし、それらを仮想にもたらした。何故?を観察する、経験するものとして。 ​ 区別概念、次元・密度、捏造・創造、思考・意識を経験し観察するのである。 ​ 完全の定義には、不完全、未完成、未知、試行錯誤、それらのやり直し、その永遠の繰り返しも含まれる。問いや否定、そのまた否定も含む完成のない全てである。だから、偶然や間違いの美が選ばれもするー価値基準を配列する階級者定義へ「そうではない」を提示し思考を促すー極と極の間の空へ。 ​ 私たちは光であり光に写される影では無い。人間の思考錯誤、答えを求める狭間に「生」が働くのは光自身の極みの連続に起こっているのである。光による対照の投影ではない。(だが、この投影でさえ、幻覚でさえ波動である) この第三密度下でのソレは形あるモノだけではない。思いも、感情も、勘違い、錯覚でさえもが物象=モノの次元、密度である。これら諸々の三次元下での機能も思考錯誤も含むすべてが元々の融和へ還元する運動である。そこに記述が物象化し一括りに「在」が現れるのである。 ​ この現世間の微かな気がかり、チリや埃、痕跡に、この世界の元末の波動として存在する。それらは見ようとしない人には見えないだろう。見ようとする方向を外側に向けている限り。秘密は通りすがりの矢印に、迷い、修正、ごまかし、書き換えなどの痕に裏方にあなたの神が選ばれるのを機会を待っているのである。透明な狭間の微かにあなた自身の投影が自らが目の前の神なのだと、責任を持って見ようとしますか、それを実践しますか、谷底に飛び降りますか。痛み苦しみにしがみついた身を捨てられますか?飛び込め!その身はイリュージョンだと知ったなら。 2016 🔺 ​ 存在するのは体験だけである。それ以外は構築された組み合わせ論理であり、合理的、数学的、科学的と命名に過ぎない仮想である。体験がこの第三密度の世界、物質世界の特徴だが、そこには言辞、言葉、パルスでイリュージョンを引き起こすメトリックスが潜んでいる。パルスによってホログラフィック映像がイリュージョンを引き起こす。だが意思によって採るか否かは選べる。 主はあなたである、「信じなさい。そうすれば体験するだろう」ではなく「体験を選ぶ創為(そうす)れば信じる」という言辞、創造、実践が元(はじまる)。そのはじまりが体験運動と生るのである。 私は国際会議を運営代理する業務に従事、翻訳と画像理解の為のという縁が元で、無理なく空手を始めさせられた。 体験の切り口は直感を物質的な肉体の生得知識によって波得することである。身体の動き、運動の元は呼吸から始まる。心拍が最初に起こり、脳の働きの元となる。その波動を生得知識とするのである。それが活字会得ではないことが重要なのである。脳は先ず心拍に起こり直感が生じる。心拍集中は呼吸連動の同時に始まる。呼吸は生の始まりであり運動の起こり、心肺の始まり脳パルスの働きそれら全同時の系、隅々具々に流れる粒子協和それぞれが自らと全てとの波流を生得和得するのである。 ​ 呼吸はその肉体部位の状況を構成しながら分布反映する。科学的な反応変化が、領域、形体、周りの状況や状態に作用し合い、変幻自在に分布していく。 空手の極意の一つは相手と一体になること。一体になるとは相手とひとつになる、という意味である。つまり「愛」「意」「I」、自らに、ひとつに、なることであるから、相手を倒す必要などない状態になることが極めである。 ​ 人間の場合を例にすると、身体から始めなければならない。自分の身体が変わる必要がある状況に応じ変化する。体が動くと体型が変わる。体が変わると呼吸が変わる。呼吸が変わると思考が変わる。そして思考が変わると、自分が変わる。その繰り返しは同じでも、応用が行き経験値に応じて変化、進化する。動きを止めると、逆も起こり加減に応じ退化する、と信じれば退化する。逆に、退化せずを決めれば退化しない。決めのいい加減にも応じるが。笑 動作の反復は観察するという視点を経験の途上に提供する、つまり、あなたの多くの層が密接に重なり結びついた組織の具体的な関係と影響を反映する。走っている時、あなたの呼吸は変化する、それはいつもより酸素がたくさん必要であるからである。走っていると呼吸が変わる、呼吸が変われば思考もその状況に反映し変わる。走る人間の思考は走ることに関連した思考に対応する。 チベットでは、怒っているなら少し走れと言う。家の周りを2、3周し戻り、怒りがどこへ行ったかを探せばいい。早く走ると、呼吸は変化する。呼吸が変わると自らの体と周りとの関係の速度が風景として早まる感覚をもつ。つまり環境が変わり、時間経験の速度が変わる。一般の人の動き、思考が遅く感じられさえする。空手の世界の速度は一瞬に結果を決める技にある。実際は決める一瞬前に相手は倒れている速視観である。認識知覚する以前で、勘という。修練を積むと、相手の能力は、スピードの読みに現れる。相手の呼吸技のスピードを得、相手に同時を合わせ空即是相手の先を突く、先の先という技である。 ​ 存在は見えるものだけではない。見えない世界の異なる存在の中に存在する肉体がその変化に晒されると言う体験をする例である。見えない存在という観察知を空に座して、それに合わせ、肉体が平行して形成されるイメージに思考パターンを合わしていくのである。これはドリル仮想を現前イメージ化する方法である。アーティストには身に覚えがある筈である。目を閉じるとそれが出来る。気付かないだけで、放っておかれた通常にそれはいつも起きているのである。それを意識に置くか、意識集中を儀式化し生得につなぐか、如何程の経験値でそれが叶うかなのである。私は種子経記述行為の狭間に百11万粒、一粒一粒にそれをやっている。決めることで容易く、意味もなく、作る必要もなく、ただ、あるがままに集中している、それを「意図する」のである。 この原理を観察すれば、走る必要はないかもしれないと直感する。5、6回、深呼吸するだけでもいいのかもしれない。吸って、吐き、吸って、吐く。そして怒りがどこへ走って行ったかを観察する、それを「意図する」のである。思考のいい加減さを肉体の使い方で変えるのである。そして怒り、または恐れの消え去った場所を探せばいい。そのでどこを思い浮かべればいい。それらを観察する心がどこにあるかを観察すればいい。人間の思考の完全ないい加減さをポジティブに観察すればいいのだ。そのいい加減さに自由の力の大を見出せれば、そしてそれ以外の途方もない可能性の無限に方法が見つかってくるのだ。 ​ (だが、思い込みの強度は年齢に応じ異なる。若い程、修練は早いが年をとっているほどに刷り込みの強度は途轍もない。DNAの再接続に頼らず全ての洗脳を解くことが出来るかどうかは自己暗示の方法、形式、儀式的な自己刷り込みの訓練と修練によるだろう。これも学びのひとつ、目的のひとつかもしれない。あともう少しまで来ているはずだが、常に、あともうひとつなのだ。ひたすら信じ込み自己暗示、その修練と強化と錬磨の繰り返しを続けるだけ。) ​ 思いは、感情は、その瞬間に、即、変えることは難しい。だから身体を変え、次に呼吸を変え、そして怒りなど存在しないと気付くほうが簡単だと観察すればいい。この簡単な原理をすぐ忘れる。だから書き留める。直接、それが、すぐできなくてもである。楽に、それが分かればいいのである。 イエスのもと、マホメッド、仏陀のもとへ行ったら、彼らは「怒りを捨てなさい」と言うかもしれない。「怒りがある」としたら、それは怒りを助長する呼吸のパターンがあるということ、言葉を真に受けると言う癖、それを直接受けてしまうというパターン、またはパルスに気付かず、反応するからだ。そのパターンがある限り、怒りに直結してしまうのだ。観察する空を、その合間に置く運動が体験の間に置く、それは呼吸に集中することで得られるのだ。 四苦八苦しながら怒りを捨ててもかまわない。 だがそれは役に立たないか、あるいはとても時間がかかるだろう、しかも不必要なほどに。そこで自分の場合は、自分の呼吸のパターンや呼吸のリズムを見つめる。自分が特定の呼吸のリズムをとっているとしたら、そのために自分は特定の姿勢をとっている。 身体はもっとも粗大であり、マインド(表面意識)はもっとも微細なものだ、仮想は無尽蔵にわき起こってくる。沸き起こらなかったら、目の前の何かを、偶然に選んでもいいし、すぐ気が変わったっていいのだ。君は主人なのだから。それが飽きたら眠ればいい、休めばいい。放っておけばいい。 ​ 姿勢から始めると言う方法もある。私たちはあまりにも注意を欠いた生活をしているので、観察したことはないが、マインド(表面的心)にある種の気分を抱えている時、自分は必ずそれに関連する特定の姿勢をとっている。たとえば怒っているとき、自分は寛(くつろ)いでいられるだろうか?それは難しいだろう。怒っていれば、自分の姿勢は変わる。眠たければ自分の姿勢は変わる。 だから、意図して、全くそぐわないとされる姿勢を考案してみるもいい。概念にこだわらない姿勢を三分。呼吸一分おきに変える姿勢。楽しい時の姿勢。幸福感の姿勢。それらの姿勢に言辞を与えて見てもいい。全く無意味な言辞を。全ての既存概念にそぐわない、動物、植物のイメージのポジティブと感じるイメージを真似てもいい。大きなイメージとただそれだけでも。 2014 🔺 9/5/2014 ​ H、いろいろありがとうございます。 カタログ よろこんでくれて嬉しいです。 今日読み終えた本 のブックカバーの写真送ります。添付ご覧下さい。 Hのロフトは何階でしたか?懐かしいです。 Nさんの件ありがとうございました。彼は以前NYで弁護士をしていてコレクターだったそうで、9.11以後,大学に入りなおし今Hauston の美術館の写真部門のキュレーターをしているとのことです。 日本は変な天気です。雨が多いです。 きょうはひさしぶりに天気です。 お元気で。K&N 359 Canal St 3階に刈谷博のスタジオ。ナムジュンパイク、靉嘔、折本立見、仏原和義経由でフィクスチャーフィーを支払って買取ったスタジオ。トランプマネージメントが家賃の支払先だった。上4階に柿崎せいじ、エリザベス、ミカ(子供)、1階がプラスチック屋。ディック・ヒギンズが2階に、FLUXUS発祥の地。ピーター・フランク、シリル・ジャバチョフ(クリストの息子)、利根康尚、ウルフ・カーレン、ベンニ・エフラット、アレックス・カッツ、ヨヨ・フリードリッヒ、ウルフガング・ルイ、ヨハネス・レンハート、ヒルマー・ボイル、ライモンド・バンベル、ゲーテハウス、バーバラ・ウオレス、古川由重、森本洋充、 ​ 9/3/2014 ​ K、カタログ届いてました(8/29発送9/2付着)。 貴重なものをワザワザ有難う。 北九州の写真の軍は圧巻、見えないものと、見えるものと、見させられてるものを通して、見るってコト、見えるってコト、見えないってコト、の問いかけが永遠と続いている心象風景が見えて来ます。ニューヨークでも、近い将来、お目にかかりたい作品です。 Nちゃんの作品のカタログも有難うございます。影に当たる部分に墨絵の陰影を感じてしまいました、色彩を使ってるのですが、モノクロの映像を見てしまいます。それはおそらく、結界の切れ目の厳しさと影との中間にボカされ三次元なのに二次元のように見えて来るからかもしれないですが。 Nさんから連絡は届いてると思いますが、二週間前の木曜日朝、Nさんにジャッキをお渡ししました。朝の訪問時に、先ずジャッキをお見せして、ニューヨークに来た経緯と、Kにデュッセルドルフで会ったコト、PS1での展示辺り迄の会話で時間切れ、次の約束まで間に合わない、改めて正式のアポイントをとって訪問をしたい、とのコトで急いで帰られました。(自作品の印刷物を尋ねられ、何冊かお渡ししました)。想定外にジャッキ、思ったほど重くないので、と云うコトでお持ち帰られました。 Nさんコーネル大学で美術史の博士号を取って、卒業後コーネルで展覧会を企画したこともあったみたい。息子のMが同大学、化学科のPHDで現在通っているので奇遇です。大学にはかなりの展示スペースがあるらしい。 ニューヨーク、ここ三日間、物凄い暑さの振り返しでエアコンを入れておりまする。H --------- 8/14/2014 K、了解です。 Nさんからの連絡を待ってます。 3日前に戻ったのですが、こちらは涼しいくらいの過ごしやすい夏です。 メイン州では、ロブスターをほとんど毎日食べてました。 夏、風邪など引かないよう!H -------- 8/3/2014 ​ H、メールありがとう。温さんのNews僕もDUsseldorf で7月11日友だちの電話で知りました。 5月Newyork に行ったとき癌で悪いとは聞いていました。奥さんの博子さんが看病していると聞いていました。 ひとっの時代の終わりを感じます。昨日大阪国立国際美術館で温さんの I am still alive の電報を見ました。そのうちの一つは僕がDusseldorf の僕のスタジオの近くのPost に付いていって送ったものでした。 1981,05,17.でした。 ではお元気で。温さんのTwitter 未だ I am still alive やっているそうですよ。 K (14/08/02 0:46), hiroshi kariya wrote: -------- 8/1/2014 K、アレ、古い住所に送ってた、でも届いて良かった。 ジャッキ、連絡待ってます。先週ミシガンに休暇、来週はメインに行って来ます。 今年は全般的に涼しく、ミシガン湖の畔は、はだ寒かったです。 Kの活躍に、活力をもらってますよNちゃんにもよろしく。 空手の合宿中7/10、温さんが亡くなったとツイッターで知ったよ。 早すぎるよなぁ!だが…81か、I AM STILL ALIVE はこの日の為の作品なのか… 大阪のKの新居訪問の1995年だったな…、温さんが大阪から帰って来る時間にミヅマで数時間も待っててくれてたらしく(灰皿に吸い殻がかなり溜まっていた)。ところが、電話、五分で着くというソノ五分が待てなく、次の2ブロック先の画廊で待っていると伝言を残し、温さん流は立ち去っていた。やっと近所の(女流経営の)画廊に追い着いたら、既に灰皿に吸い殻が溜まり始めていた。温さん原美術館の展示で東京に来ていたとか。会話の途切れに、ニューヨークで奥さんの博子さんと道でバッタリお会いしましたと云う話をしたら、突然プイ、「うん、帰る」と怒ったみたいだった。 ​ その後ニューヨークに戻って、夕方のFトレインで呼び止められた、そのバッタリ出会いから、スタジオでペチャクチャ、上さんいないんだ、と近所の"ともえ"で夕飯のお付き合い、気がついたら10時間は一緒だった。キャンバスにその日の日付は描いていなかった。 ​ その翌年だったか…ソーホー、プリンス通りクロスビー街に向かうディーン&デリーカの角の交差点で、又バッタリ出会った、その時、温さん背後に女性と一緒だった、が恥ずかしげに、彼女を後ろに隠すように快活な笑顔で「やっ、元気?」と?それだけ。 ​ …それが最期、それ以来出逢うことはなかった。その女性が内藤礼らしく、その後、奥さんとはスタジオとともに別れたらしく、クロスビーの倉庫を改装中とか、時間とともに耳に届いて来た。 ​ 新聞記事には家族の名も、顔も、といった個人情報は載せないという画廊からのただし書きが載せられている。1989年のエグジットアートでの個展に来てくれた時の顔写真は公開するなと言われてる。守りますよ、その約束、温さん。温さん(河原温) ​ NYTimes: On Kawara, Artist Who Found Elegance in Every Day, Dies at 81 http://www.nytimes.com/2014/07/16/arts/design/on-kawara-conceptual-artist-who-found-elegance-in-every-day-dies-at-81.html ​ 6/21/2014 Cさま、​ Kの初ニューヨークメモ・記憶補足のエピソードー Kにとって初のニューヨーク訪問、翌日だったか、「緊急」と大きく書いたアラナ・ヘイス宛ての資料を用意しまし た。そして PS1に案内しました。事務員にカタログとレターを同封した封筒を残しただけでした。翌日急遽、まさかの「部屋が一つ開いて いる、滞在中、作品を作れるか?」と電話が入り決まった展覧会でした。PS1での一年前の私の水と音の作品 を知っている アラナはオープニングでの会話「圭二の作品は既にヨーロッパで見ていて知っていて興味があった。だが、あの言 葉”EMERGENCY”が無かったら、今回は恐らく見落としチャンスを失っていただろう」と。 翌日から早速作業開始。材木はリチャード・ノナスのスタジオ訪問したさい紹介をうけた材木屋に手配し、 ジャッキを キャナル街の雑貨屋さんに注文(日本製、私のスタジオに現存。来年の展示で使用する予定)。その間に河原温、篠原牛司男、川島武などに会い、359キャナルのスタジオでパーティーを開催、ゲーテハウスから幹部の方3人、作家のウル フー・カーレン、 ヨゼフ・アーベン、インゲ・マン、刀根康尚など50人ほどが集まりました。そしてインスタレーション無事終了。オープニング は(アラナはKの手を握って離さず)盛況という大忙しでした。 展示終了後、作品は私が解体し359キャナルのスタジオに持ち運びました(この359キャナルはフルク サス発祥の 地、アイ・オー、ナムジュン・パイク、ディック・ヒギンズ、折元立身などが居住)その後、木材はブルックリンの現在のスタジ オに移動、いまは台所のロフト上階を支える柱に変容してます。 http://en.wikipedia.org/wiki/Fluxus PS1、Room 203の作品はNOMAARTエディション見開きページに掲載されてます。 (PS1 の展示写真は私の安物カメラで撮ったもの) モノ派 は有名で、日本人作家もっと出てもいいはずですが、緊張感を視覚化する圭二の来年の展示が楽しみです。K 2012🔺 ​ 2012 0605 1060 The body of microorganisms is an enzyme The appearance of living things is only the result of the enzymatic state. We see the existence of microorganisms as a "state" rather than a physical existence. In human society, there are innumerable people stochastically, but the essence is only a state, and the individual existence is only a result. This is the human dialectic 2012 0605 1059 Insurance, Pharmaceuticals, Doctors Trinity In the United States, insurance companies, pharmaceutical companies, and doctors are the trinity. I'm making illness for their work. In fact, you once played the medical party and killed a lot of people. This world is a virtual world. 2012 0102 1019 You won't die You will not die. "Death" is a delusional concept created by humans and is a brainwashing mechanism to keep you in a prison of control. Your essence is a "spirit" and an "immortal" life that cannot die. Matter also changes, its shape and properties change, but it does not disappear. 2012 0102 1018 You are human now Playing a human. It is holy being forever. In order to notice and overcome the current anguish, for a short while in the book, You create a detailed program that leads to the background and assignment, submit it to your higherself, and experience it with consent. The result is another thing, including them, experiencing life. The purpose is to study and experience the physicality for the higher level. The earth is the best place to experience for that purpose as level 3 thru 4, 5. 2012 0102 1017 This is the part inside you The fact that he is the master, the higherself, and the master is also part of you. Highest is sending signals to remind you of the part of the master in you. Highest is trying to show it as a mirror. It's a big movie in which higher one play everything, because it's not interesting if it's easy to understand, and the experience is meaningless, so he/she dare not understand it, and as a result of various trials and errors, he/she may finally realize the memories. 2012 0102 1016 You created the universe There is a person named Sai Baba in India, who says he created the universe. Yes, to remind you that each and every one of us here has created the universe. he/she wrote now, in fact, when he/she read this now, and time is a delusional thing, a fabrication to rule. It's the same as the structure of a movie set, filled with real, mysterious formulas, big life-size. 2012 0101 1015 Crazy theory dream A dream is a reality while you are in it. In a dream, it's a real reality. While you're in a dream, you're taught that it's a solid reality, and you believe it's a reality. Do you believe it's a dream? A pulse of electrical signals is set in the DNA. Your will pull out the DNA data and re-arrange to solve all problems. 2012 0101 1014 "Forget and remember yourself" "Forget yourself and remember" you are more than an idea. What you think is there. You can do everything by deciding on the truth, the core, the heart, and the faith. But if there is a slight suspicion, it won't happen. That's what it means to Higherself. Not realized at 0.♾️00000000000000001% 2012 0101 1013 "Nothing exists without you" "Nothing exists without your existence." It's easy. You created everything. You made the characters, the events, the stories in every corner, the spouses, the children, the bad guys, the favorite events, the real thing of the big movie set, the movie, including the imagination, and false information even. You just lost your memory, but you have sense you know it. 2012 0101 1012 You created the existence It's myself. So ... there can be no other person in your universe that denies you. Its existence in your universe exists only to know yourself. Nothing else is possible. That's why you're completely safe. 2012 0101 1011 "You changed your appearance" "No matter what event you are involved in, you are not directly involved in that event." I'm letting you. #Existence 2012 0101 1010 You are "an event" You are the "ultimate embodiment." The person, his words, and you who hear it all come from the core of your heart. ​ When I wake up, "it" happens, "repeatedly" and "enjoy" life again. "Raw" Enjoy the repetition. In fact, "the present" is the virtual illusion. Repeat "But, but not." You're telling yourself to wake up ... ​ 誰かが助けてくれるという依存心はプログラムされたもの 「イオンの永い間、人類はさまざまな段階の「ネガティブ思考」という電気信号のパルスに接続されてきた。その生の仕組みを知ることの、言い換えると、記憶を抜き取られた結果、無頓着という結果として、卑劣な行為を遂行する陰のコントロールが簡単に構築されてしまっていた。」 (8) 何千年にもわたって延々と地球の人々が仕向けられたことは、記憶への怠慢、自分自身を軽視するという誘導によって自らの経験を創ってきた。」 (1) 「私たち以外の誰かが自分を助けてくれる、と考えるように、人間はプログラムされ、条件づけされてきた。私たちを救おうとしている者は自分一人以外に存在せず、探してもどこにも存在しない。 (4) これまで何百万年もの長い間、人によっては数兆年、時間の長さは存在しないから数などはどうでもいいのです、人類の多くは、「私たちの指導者がこうした行為をするわけがない、そんなことは信じたくない、見たくない」という「自己否定」にすがりつくことによって、現状に不満を抱きながらも、それを打破するために自分に何ができるか考えず、何も行動しないという「怠慢」、そして自分の持てる力や選択の可能性を「無頓着」に「軽視」し「卑劣な行為を遂行している陰の温床が簡単に構築」されるという自己否定のさらなる否定の構築を許してきた。 また一方では、自分以外に「救済者」を見つけてそこに逃げ込もうとする「依存」傾向も「人類にプログラムされ条件づけされたもの」だった。人類は、無力感に囚われ、持てる力を他人に渡し、その者の操縦に自らをゆだねるという姿勢を通じ、歪んだ支配構造を揺るぎないものとして固定化させられてきた。 「アセンション」(密度復元)とは、厳密には、自らの本来の性を思い出すことである。自分が創造主であるという記憶を思い出すことである。吾々のDNAは2本しかない、元々12本あるDNAを元に復元する働きかけである。それが持つ本性の力を回復することによって、闇の支配を地球から完全に抹殺することである。すべての知の体系野元の姿に戻すことによって、宇宙の真理が基盤とされた構成に戻すことである。つまりこれまでの支配のカラクリの全てを、骨格の悉くが崩落することで。地球を実質的に支配してきた者たちが、「アセンション」を懸命にひた隠してきた理由がここにある。 ​ 「高周波密度の影響が、私たちの人生に及ぼす無数の役割を理解することは非常に重要なことである。私たちの世界が、他の密度、次元と、時空を超えて存在していることがますます明白になってきている、自分自身が別の現実にも存在していることが理解されてくるだろう。すべてのソースは自分自身であり、ここにあり、全てにある。そうでありながら、自分自身が分身として、それぞれが独自性という、独立した存在としての経験をしている経験の法則で存在するのである。自分は単独の存在のように見え、実際は、自分の知覚の限界を超えて存在する多くの現実に永遠に結びついているのだ。」この理解とは、つまりテレパシーの以心伝心という鍵に込められている。 (1) 「例えば、自分が、自に起こっていることは全部知っていると信じて人生を生きているとしても、まったく同時に、自分自身の別の側面が自分の意識に共存している。そのような別の側面は、自分の顕在意識よりも、自分の高い周波性の密度、または多次元性でもいいですが、についてもっとよく知っていて、たんに別の波動域に同調するだけで身体を離れて活動できるのである―同じ細胞、同じ分子、そして同じ器官を 使いながら。それらの別の側面は、自分の顕在意識のもう一つの高い周波数のさらに高い周波数で観るという視点の本性、観察する昇天を持っているのだ。」 (7) 「私たちの独自性の一部分が「現在」に強く焦点を合わせていることは事実としても、素粒子レベル上の意識は、「非局所」の存在として現実を体験している。つまり空間や場所を隔てる壁や境界はないのだ。「非局所」とは、あらゆるところに同時に存在すること、すなわち万物すべてに偏在することを意味している。自分の細胞が予知能力を持っている理由はそこにあるからだ。自分にとってすべての瞬間が重要です。それは無数の選択の可能性を含んでいるからである。人間の思考でいう重く、研ぎ澄まされた、堅苦しさの全てを解き放ち、ゆったりと遊びなさいということなのだ。」 (7) 私たちの本質である「意識」は、厳密の定義では「意」と体験する「識」に分けることができるが、そうする必要があるわけではない。つまり「意識」という概念や定義、それ自体が「意識」の識別を目的とした人工物だからだ。これらを学ぶ目的があってのことだと感じてみればいい。「感じてみよ」という概念もだが。それらは、さまざまな密度の「身体」に同時に宿り、多様な体験を通じて進化するという学びが暗示されている。つまり、「自分自身が別の密度、次元にも存在している」ということである。夢の世界で、その一端を垣間見ることがある。「別の現実」に存在している「自分自身」の「別の側面」は、高密度、多次元世界では自由に「身体を離れて活動できる」、だから「現実の本質を常に観察している」状態を説明する。 「身体を離れる」といっても、私たちの立脚点としての肉体とのつながりは保持している。つまり、「同じ細胞、同じ分子、同じ器官」を、物質界とは別の様式で使っている。私たちは表面意識が気づいていない「本質を見通す視点」を、直感やインスピレーションとして、「意識」から受け取る体験を経験している。 このように、私たちの「意識」が複数の現実を同時に体験しているということを別のかたちで表現すると「万物に偏在する」わけだ。つまり、万物、すべてとつながっているわけである。だから「自分の細胞が予知能力を持っている」わけだが、ここでいう「予知」の意味は、すでに起こったことを見ているのではなく、自分に関係する周辺のあらゆるものの、直近の「意図」や「方向」を体験知しているというわけなのだ。 未来は、どんな意味においても確定していない。が、自分に関係する周辺のあらゆるものの、直近の「意図」や「方向」を体験知しているのであるから、「未来」はすべての「参画者」の、瞬間ごとの選択によって確定していくものだ。だから「すべての瞬間に対して、ゆったりと、注意深く、責任を持つべき」行為、行動、言動を起こすことになるわけだ。つまり、瞬間ごとに私たちは、自分の目先の現実を創っており、集合意識としての創造に参画していくことになるわけである。さらに、全宇宙の、つまり「宇宙知性」の創造活動の一端を担っていくわけである。この事実を認識し呼吸に集中すればいい。ゆったりと、何となく、またゆったりと、全ては思いのままに。 もとより、自ずと由が本性とすれば、自由を唱えるという不自由の洗脳支配には応じないということだ。好き勝手な文でいいではないか、何か? 1998🔺 1998 We Should Erase All Fabricated History, Social Info It is certainly this consciousness that Hiroshi Kariya animates his work. He engraves the names of the genocide scenes being exercised in the world on a black slate plate, which has already healed in the fact that they become news articles and that the articles are cut out. It may have been slaughtered. However, Kariya physically perceived the weight of suffering by recording it in a format at the same time as his sutra, and tried to make this series of actions a prayer to relieve the pain that now tears our planet. is. It is immortal because it is not "coming" but "its present" its continuation. Izumi Omata, ”Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998 ​ 1998 All Given Titles Are Made-up, Imprinted False Info Eric Mezil, Directeur du musée Collection Lambert Hiroshi Kariya's method is, He accumulates passes, sometimes he retains only The title, cut in newspapers whole world events and sticks these words on slates of school chalkboard. On the reverse side, he writes a small sentence in white chalk that will inevitably fade over time. "Now is the now is the now ..." is a lifetime motif in all of his work. For many years he has chosen to live in New York, and like any immigrant, he feels concerned by the problems of his country but also by every drama that taints the world well beyond the archipelago. Eric Mezil, "Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998 1997 🔺 1997 Fact I am still writing “The now is” sutra. I am still wondering about it. 1997 "What Is Not Here Is Also One Thing" Takashi Kitakoji, Review on Hiroshi Kariya "1996 Sutra" Exhibition If a person with no preliminary knowledge visits the gallery in the afternoon, he will not be able to read the letters "the now is", which covers the blackboard as usual, and will probably understand that they are unknown foreign languages on vague grounds of the cut-out of a 1996 newspaper article on the back of the chalkboard - the disasters in Bosnia, Rwanda, and elsewhere. So why is this blackboard appearing here? If I would ask him "Is this Sarajevo ruin here?”, I assume that he would not say yes to it. Then, the ruins placed here are speech-loss. “What is here is one thing: that is everything… nothing exists apart from that” (quote: H. Kariya) Takashi Kitaoji, BT7/97 Page 152, 1997 ​ ​ PARALLEL CONCEPT ​ What is here is one thing: that is everything, nothing exists apart from that: ​ Your inhale and my exhale are parallel: My inhale and your life is parallel: ​ Clouds move, we all are in parallel: Our breathing move the Sun in parallel: ​ My writing "the now is" is and all others in parallel: "The now is" in here and "the now is" elsewhere is parallel: My erasing chalk writing and my garden sprout in parallel: Without needing to know all, nor ignore all is parallel: ​ The wonders of this world and the tabletop dust are parallel: that is everything, nothing exists apart from that. ​ Hiroshi Kariya, 1977, 1987, 1997, 2007, 2017 ​ ​ パラレルコンセプト ​ ここにあるのはひとつのことです: それがすべてです。 それ以外に存在するものはありません: ​ あなたの呼吸と私の呼吸は平行しています: 私の呼吸とあなたの人生は平行しています: ​ 雲が動き、私たち総てが並行し動きます: 私たちの呼吸は太陽を並行し動かします: ​ 私の「the now is」記述は、他のすべてと並行します: この「the now is」と、他の「the now is」は平行します: 私が消すチョークの記述と私の庭の芽は並行し: 全てを知る必要も、総てを無視する必要もなく: ​ この世界の不思議も卓上のほこりも並行します: それもすべてです: ​ それ以外には何もありません、と云うことも: これら全てを否定することも、無視することも: それら全てと同時に「 the now is」を記述します: ​ 。 刈谷博、1977、1987、1997、2007、2017 1996 🔺 1996 Counting The Illusion Of One Counting Planting the seed of an idea in the here and now “...Kariya writes “The now is sutra” on both sides of a dried bean, going through about 100 beans every night before going to bed...with notes of his daily thoughts… Based in Brooklyn, N.Y., his open poem was first in English; One piece of Brahma Day One piece of “the now is” One piece of 8,640,000,000 years 104 pieces”, Miki Miyatake, The Japan Times, 5.1, 1996 ​ 1996 Evidence Of Reading The False Titles And Stories I am still reading ‘The New York Times’; in different date, in different name, in different place, in different print. I am still reading ‘The New York Times’; in different words, in different pictures, in different stories. I am still reading ‘The New York Times’; in different titles, in different times, in different killings. “1996 Sutra”; (news title sutra), typed on paper, 1996 Words are “produced and exist, so also our presence that the world has existed”, yet I could live without it. If you have observe the detail of Kariya’s “Chalkboard Sutra”, you will recognize that the writing on this work is not freshly written but layered, written and erased over and over. The chalkboard as media; writing on a whitish half-clear surface, as it is difficult to erase previously written words perfectly. I think everyone recalls, with this sort of chalkboard image, the memory of school life in childhood. “Chalkboard; 10 Years later, Chernobyl” acrylic on masonite+chalk+eraser, collage on reverse side, 1996 1996 Chernobyl In Japanese: Yomogi 蓬 “Chalkboard: 10 Years later, Chernobyl” reverse side of work To enter the gallery floor… is my chalkboard… My foot to enter… My hand to chalk proceed my life… To enter this life… Proceed my chalk writing… To exit my foot proceed to erase my writing… With my light particles creating holographic of physicality, everything no begins nor ends, but is the now. The world is a chalkboard. Our feet are the eraser Our hand is a chalk Within ourselves we built and we demolish Hiroshi Kariya 100 Stones Outer Circle On Each Top Of Letter 100 The “Chalk writing of “∑ 139+89 words”, and placing a daily work of “Seed sutra”, Mizuma Art, Tokyo, 1996 1996 Making Is Fabricating Is Creating Is Breathing Is Moving Is “The concept of ‘making’ as a Buddhist theory of composition...His creation, as well as destruction of visual form; It begins with a concept, that works through his body using feet and hands, and ends with an incredible sight of beauty on the gallery floor... his endless ”the now is” writing...”, Toshihiko Washio Komei newspaper, 5.15, 1996 1996 “innumerable ‘the now is’ writings in chalk, lead us to another dimension… while you are focusing on the spiral writing,...soon you begin to notice the gallery space transforming into the metaphysical field; from ordinary concrete floor to an aged ancient granite rock, and the wall begin moving away out of sight” Akio Sagegami, Shodoh Kai magazine, July, 1996 Let the candle light to see what is writing; “the now is” to read “the now is” writing “the now is” lighting “the now is” Reading Candle Writings curved on candle, 1995, photo; Hideki Hiromoto I am still writing “the now is” I am still writing “the now is” I am still writing “the now is” 1996 “Gallery”, weekly magazine PIA, 4.30 1996 Toshihiko Washio “The concept of ‘making’ as a Buddhist theory of composition...His creation, as well as destruction of visual form; It begins with a concept, that works through his body using feet and hands, and ends with an incredible sight of beauty on the gallery floor... his endless ”the now is” writing...”, Toshihiko Washio, Komei newspaper, 5.15 1996 Akio Sagegami “innumerable ‘the now is’ writings in chalk, lead us to another dimension...while you are focusing on the spiral writing,...soon you begin to notice the gallery space transforming into the metaphysical field; from ordinary concrete floor to an aged ancient granite rock, and the wall begin moving away out of sight” Akio Sagegami, Shodoh Kai magazine, July 1996 Miki Miyatake “Planting the seed of an idea in the here and now...Kariya writes “The now is sutra” on both sides of a dried bean, going through about 100 beans every night before going to bed...with notes of his daily thoughts...Based in Brooklyn, N.Y., his open poem was first in English; One piece of Brahma Day One piece of “the now is” One piece of 8,640,000,000 years 104 pieces”, Miki Miyatake, The Japan Times, 5.1 1995 🔺 1995 A.M. Weaver “Hiroshi Kariya’s installation ‘No man is free who is not master of himself’ is a grand crescendo. His chalk board writings, collages and wrapped forms are crowded into a prison-like enclosure… Kariya’s construction attempts to engage the viewer by challenging the perception of prison; here the prison is the self, the mind, systems and world conditions...” A.M. Weaver , Painted Bride Art Center, catalog essay ​ 1995 Hiroshi Kariya’s “No Man Is Free Who Is Not Master Of Himself” EPICTETUS is a grand crescendo. His chalk board writings, collages, and wrapped forms are crowded into a prison-like enclosure. (Kariya quote: this is a small scale of our 3D-physically-informed world, we are the prisoner) Each item, material and mark alludes to a complex matrix of events, activities, public and private and world conditions. No Man Is Free Who Is Not Master Of Himself is a continuum of a work created in 1993. Sign of the Times, Kariya’s installations evolve and flow like a river from one piece to another. An integral part of his process is to compile layer upon layer of data, building each project by expanding or editing depending on time and space. A. M. Weaver, Curator, Painted Bride Art Center, Philadelphia, 1995 ​ 1995 NO MAN IS FREE WHO IS NOT MASTER OF HIMSELF -EPICTETOS- ​ Installation: 3 The prison is our world, 2 The prison is our nation, 1 The prison is our border, 0 The prison is our religion, 9 The prison is our hierarchy, 8 The prison is our system, 7 The prison is our program, 6 The prison is our classroom, 5 The prison is our choice, 4 The prison is our believe, 3 The prison is our thoughts, 2 The prison is our physicality, 1 The prison is our consciousness, “13 wrapped bodies lie on the floor inside the prison. Beneath them, the floor is covered with 1000 multisided, chalk writing covered chalkboards. They are individually chalk board is attached with collaged newspaper clippings of our social news articles, and or erased surface. Erasers and chalkboard are randomly placed.” *** *Large version of 4 installations was originally installed in 1994, at the Art Tower Mito, Ibaraki and Mizuma Art Gallery, Tokyo, Japan, under the title “Sign of the times”. Painted Bride Art Center, Philadelphia, Penn. USA Hiroshi Kariya, 1995, Catalog Essay 1995 Toshihiko Washio “Kariya is trying to capture ‘Time’ by means of his symbols which appear and disappear. Without their emergence, ‘Time’ exists only in an undisturbed limbo...However, if none exists, no sign appears..the meaning in his writing of “the now is” expands to an extraordinary dimension..” Toshihiko Washio , Art Journal, magazine, July ​ 1995 Tsunaki Kuresawa “Chalkboard Sutra with combined element, chalkboard, chalk and eraser as one unit...as composition of our world...Each chalkboard is marked with writings or erasing of his ‘the now is sutra’. The phrase is an index which points to every moment of “now”… a meaning extends, at the same time, to the unascertained existence of eternity...” Tsunaki Kuresawa , monthly art magazine BT, Sept. 1995 Hideki Nakamura “Art as representation of today’s mental structure”, Hideki Nakamura, monthly art magazine BT, June 1995 “..by using discarded objects to rebuild‘Time’”, Monthly Gallery, magazine, June 1995 Tamaki Harada “the work is a healing art. His writing of ‘the now is the now is..’ strikes us very deeply to heart.” Monthly magazine CAZ, 6.27 1995 Taiji Yamaguchi “small chalkboards each the size of a magazine, similar to a memorial tablet,.. each chalkboard framed in gilt rests on its gilded chalk ledge..the surface layered with repetition of his ‘ the now is sutra’ writing and erasing.” Taiji Yamaguchi , Akahata newspaper, 6.23 1995 Toshihiko Washio “Striking at first, then a moment of serenity washed over me..He is performing a memorial service; producing a monument dedicated to every moment by infixing his sutra on the surface of the chalkboards...”, Toshihiko Washio, Kohmei newspaper, 6.23 1994 🔺 1994 “Writing on Chalkboard exists with the intention of being erased. Written exclusively by hand, it stresses the existence of life. Words are ‘produced and exist, so also our presence that the world has existed”. Once they appear, they vanish quickly. These works are deeply connected with the writer’s movement of hands, body and voice in front of chalkboard; the writing and this activity becomes one. On the surface, Writing on Chalkboard holds the presence of “now”, it reveals the artist’s voice and performance. A classroom is a mysterious place where fundamental and universal truths are revealed, where a teacher’s total life experience is exposed. As I have already mentioned, Writing on Chalkboard does not become invisible, but remains as sheer traces even though they are erased. Through erasing they simultaneously create a background of new writing. This system is quite similar to human life, isn’s it ? As someone dies, their trace as karma will harmonize with the whole, and forms the background of new life. I believe that one of the most interesting ideas in Kariya’s work is the fact that he has connected the notion of copying the sutras into Writing on Chalkboard. In copying sutra, the writer’s life is settled on the paper by written words, which will last for a very long time. Kariya transferred this process from paper to chalkboard and succeeded in showing a momentary and instantaneous side of life. The chalkboard writing expresses a collective “voice” of today’s humanity as if it were one loud scream. In this stage Kariya’s installation is a classroom, yet, at the same time, could be a prison, a barracks or an abandoned house where graffiti/scribbling is found on the walls... Yasushi Kurabayashi, “Sign of The Times”, Mizuma Art Gallery, catalog 1994 Yasushi Kurabayashi “Kariya’s work is an action complete unto itself with its own complete meaning...Kariya’s work does not present a world situation that is looked at ‘objectively.’ Instead he strives to grasp the world as a whole, including his existence...” Yasushi Kurabayashi, “Open System”, Art Tower Mito, catalog 1994 Seiichi Watanabe “...The end of life, the cessation of a national system or ideology are all influenced by a sense of termination...Today, have many artists experienced or claim that the horrors of termination are inevitable ?...” Seiichi Watanabe, “Open System”, Art Tower Mito, catalog 1994 Akio Sagegami “..the expression of his work is in his writing, more specifically, the sutra writing, which he has simply named ‘SUTRA’ ; the string to connect everything from dust to debris as one organic living unit...”, Akio Sagegami, Shodoh Kai, magazine, Aug. 1994 “Installation...his grid (the axis of co-ordinates) drawing on the gallery wall and floor along with placement of the flowers, chalkboards, candles, and the white cloths of fragments... relating to the work at Art Tower Mito’s gallery wall...” Nikkei Art, magazine, July 1994 “It was shocking ...Kariya’s work...100 wrapped dead bodies, Collapsed girl and vulture waited...questioned us in what is the real beauty ?...” Gallery, magazine, July 1994 “Kariya’s life work theme; ‘The existence is what ‘The now is’ writing is” Nikkei Art, magazine, July 1994 “Open System as ‘94 Mito Annual...” Artist, magazine, Taipei, June 1994 Junichi Konuma “Strong and powerful, Kariya exhibits material as historical evidence and proof of its preexistence”, Junichi Konuma, monthly art magazine BT, June 1994 Tamaki Harada “Every event of the world is connected to our time in ‘The now is’” Tamaki Harada, CAZ, magazine, 5.25 1994 “as many as 100 human figure objects, wrapped in white cloth, Kariya’s caustic statement on ‘WAR’...”, Asahi shinbun, newspaper, 5.12 1994 “Installation, Hiroshi Kariya’s The class room with labyrinth’ expresses our today’s world.”, Art Tower Mito, Mito Annual 1994, 4 artist were selected for this year. NHK TV video Sunday Review, 5.8 ​ 1994 “Sign of the times...Hiroshi Kariya, a N.Y.-based sculpture and art journalist, records words from articles in the news and in journals on tiny blackboards. His installation of 1083 pieces plays up the ridiculous repetition of life’s events.” Tokyo Time Out, May 1994 Chie Kaihotsu “human figures wrapped bodies attached with many small chalkboard, and written topics from the daily newspaper. It seems like an unusual kind of simulation art, but every detail of work is related to his concept; ‘Sutra’” Chie Kaihotsu, Studio Voice, May 1994 “Expression of spirit as open- minded in ‘94 Mito Annual”, CLIQUE, magazine, 5.5 1994 Ryoko Hirabayashi “...to guide art for a higher level of system”, Ryoko Hirabayashi , Elle Japon, magazine, 5.5 1994 “His work examines the sign of the times, with his unique work; Journalistic Painting, Sculpture’” Geijutsu Kohron, magazine, May 1994 Tamaki Harada “Our world exists as humanity does all on the same plane, at the same time, they are all connected in one by ‘Karma’”, Tamaki Harada, City road, April/May 1994 “Kariya who lives and works in New York City, picks up the daily topics from the newspaper, then he copies the titles on the chalkboard...repetition of his writing as much as our world events repeat... as his sutra copying...” PIA, weekly magazine, 4.26 1994 “Sign of the times; monument of the world’s events Year 1993” Iwate Broadcasting TV News, 4.26 1994 Tsutomu Shimoda “...discarded object as a reference to our Karma”, Iwate Nippo, newspaper, 4.23 1994 Taiji Yamaguchi, “...floor filled with an enormous amount of writings in chalk, an installation, you walk on to”, Akahata, newspaper, 4.22 1994 Dylana Accolla “Kariya’s powerful Boltanski like monument to war dead is a caustic statement on international diplomatic hypocrisy that contributes to the deaths of thousands of people every year...” Dylana Accolla , Asahi Evening News, 4.21 1994 Miki Miyatake “Kariya believes that the dead do not vanish from the universe but are present somewhere. To acknowledge their existence, Kariya did a performance that included chalking the topics of his pieces-places of conflicts, oppressed peoples and social problems-on the stone floor of the museum balcony, while those present offered red roses and candles along with their silent prayers....His writing is a confirmation of his life: He writes on air by breathing and on water by drinking...” Miki Miyatake, The Japan Times, newspaper, 4.17 1994 Tamaki Harada “Open System-Art.. as sutra copying, he picks up-dated topics from daily newspaper, and copies on the discarded objects..Then, he assembles them, and finally he exhibits on the wall, this expression appears as a prayer to the world and for the human races”, Mainichi Graph, weekly magazine, 4.17 1994 “There is a room filled with work; ‘Gate of Bandages’, ‘World’s Wall (Torn Bosnia)’, ‘ Turk’s Window’, through ‘Wrapped Bodies’, ‘Bloody Stretcher’, and ‘Sand Bags Wall’, laying on the floor while writings on the chalkboards were hung on the wall..” Ibaraki newspaper, 4.6 1994 “Kariya’s performance; 100 bouquet,Candle light, Chalk writing...” Shin Ibaraki Shinbun, newspaper, 4.2 1994 “Mito Annual ‘94” Shin Ibaraki Shinbun, newspaper, 4.1 1994 Previews “Will Closed Art be opened ?” Art News, Japan, April 1994 Yasushi Kurabayashi “Conceptual” Prints 21, magazine, winter 1994 Yukiko Shikata “Open System” World Art, magazine, Autumn 1993 🔺 1993 “In Memory of 1992”, catalog, Spark Gallery II, April 1993 “Fax from New York; article of Kamaishi’s life-long employment policy,... in New York Time’s front page...” Katsuhiko Sato , Kahoku Shinpo, newspaper, 5.12, 1993 1993 Katsuhiko Sato “Kariya expresses poverty and war victims as ‘used and useless’ by using discarded objects in his art...What can we do with the limited; nature, resources, city, and human...” Katsuhiko Sato, Kamaishi Shinpo, newspaper, 5.11, 1993 1993 Hiroshi Kariya “Tale of Sutra; 9 episodes”, Hiroshi Kariya, Kamaishi Shimpo, newspaper, May/June 1993 “...regarding New York Times’s article about Kamaishi as an example of ‘City as a resource’..What we have done to the city and human was consumption then abandonment...because of past mistakes...Fax from Hiroshi Kariya...” Katsuhiko Sato, Kamaishi Shinpo, newspaper, 5.4, 1993 1993 Hiroshi Kariya “What is here, is one thing; that is everything, including organic matter, time, space, and events which become one single unit... nothing exists apart from that. My work of art: its expression, activity, and our life’s form are on the same plane”, Nikkei Image Climate Forecast, May, 1993 1993 “Mourning in 1992...” Art Now Japan, Mar./Apr. 1993 “Gallery”, PIA, weekly magazine, 3.30 1993 “As journalist’s report, Kariya exhibits today’s wounded world; Somalia, Bosnia, AIDS... in his Art: Journalistic sculpture/ painting” Asahi, weekly magazine, 3.12 1993 “In memory of 1992, includes 18 wrapped bodies..”, AERA, Asahi Shimbun Weekly, 3.30, 1993 1993 “The Year 1992: as journalist, Kariya shows the sadness of our world in his ‘In memory of 1992’”, APO, biweekly magazine, 3.18, 1993 1993 Katsuhiko Sato “...will we also become the discarded object,... in the near future ? The discarded object: it was useful, but now useless. We live, and die... a reference to his mother’s death, Kariya exhibits illness and sadness of our today’s wounded world in his ‘In memory of 1992’”, Katsuhiko Sato, Kamaishi Shimpo, newspaper, 2.26,1993 1993 415 Chalkboard Installation, 415 Palestinians “Peace Before Land” Rabin “Land Before Peace” Assad Hiroshi Kariya, In Memory of 1992, Spark Gallery II, Tokyo 1990 🔺 1990 “ICA represents thousands of sutra, by Hiroshi Kariya”, Penn Life, news, Phil., 3.8, 1990 ​ “Sutra Tomb”, ICA Philadelphia, 1990 1990 “Memory: Ilya Kabakov’s wall”, ICA Philadelphia, 1990 1990 “Kariya illustrates the principle of the sutra by linking his installation with those of ICA’s past. He recycles walls used in a recent exhibition by Ilya Kabakov,...”, University City Review, weekly news, Philadelphia., 3.2, 1990 1990 “1 Piece = $1bill cash = 1 person’s only; No $10, $100, $1000, nor $10,000 bill is accepted Hiroshi Kariya, 800 Kabakov’s wall fragment”, ICA Philadelphia, 1990 1990 “8000 Years Spring, 8000 Years Autumn”, ICA Philadelphia, 1990 1990 Edward J. Sozanski “Contemplating, Creation, Rebirth...It attempts to stimulate in the observer a higher consciousness akin to a state of grace,..far from an outstanding objective...installation represents a prolonged act of meditation on immortality...the process of making it...is more consequential than the artifacts it produces. It is, in fact its essence... search for communion with a cosmic unity.” Edward J. Sozanski, The Philadelphia Inquirer, newspaper, 3.18 1990 Robin Rice “Still breathing, still thinking,...Kariya’s work...an ‘ordering’ activity that is being recorded, and that activity is a spiritual end in itself.” Robin Rice , Philadelphia City Paper, newspaper, 6.22, 1990 1990 Sutra One Thing In Everything: Everything In One Thing 1989 🔺 1989 “Begins and ends” curved stamp, ink, plumb pointing the core stamp, Exit Art,1989 1989 “I-ching chance hexagram, the choice, the chance, the change, the season, the period, the symbol” 1989 “the image, the title, the word” 1989 Kunie Sugiura “the work is entitled ‘Sutra’ . This title refers as searching for the meaning of existence, and is a study in the concept of infinity..”, Kunie Sugiura, BT, monthly art magazine, July 1989 Sutra: Origin Sanskrit; Meaning literally thread or string, sacred cord or measuring line, sketch, plan This work is a telepathic message from Kariya’s higher self written in a single phrase. Coded to the most simple of forms. It focuses on the finite concept of being in recalling the infinite reality of being. It brakes the barrier of time, space, and matter and reveals limitless isolated moments for a universal oneness. Despite linguistic forms, this writing divulges a pure abstract awareness. inherent within the independent consciousness of time / space/ matter immediately proceeding the present. All is happening at the same “the now is”, but with different level of interpretation, or frequencies, or dimensions. As we are all at the state of learning process for the universal enlightenment of love. Not the fear fabricated factors to control humans. 1989 The work is a composite of three functions: (1) to affirm the writing a s generative force. (2) to produce a *ruler to measure the writing. (3) to recall, on the surface: the form of sutra. *language verse by which to gauge or describe symbolic forms. This could be by ruler, structure, materials, system, rather than writing. 1989 3 From the now all proceed In the now all exist and to the now all return 2 This is the now, that is the now, From the now the now has come The now remains the same The now subtracted from the now results in the now 4 The now is here The now is there It is near and it is far It is inside of all this and it is outside of all this All beings in the now and the now in all beings 1 “What is the now ?” “Whence has the now come ?” “Where the now going ?” 5 The now is all this, and again Hiroshi Kariya, Recreation from the text by Upanishad, 1989 1982🔺 1988 “Stone sutra” curving on lime stone, 1988 1982 “One thing in thirty-four words: thirty-four words in one phrase: one phrase in thirty-four changes” acrylic on drifted wood, 1982 1982 “29 words in 1 phrase: 1 phrase in 29 things: 29 things in 1 work” acrylic on drifted wood, 1982 1982 “83 Words in one thing: one thing in 83 times; 83 times in one sutra” acrylic on drifted wood, 1982 I am still writing “the now is” I am still thinking about it. 1982 “One thing in thirty-four words: thirty-four words in one phrase: one phrase in thirty-four changes” acrylic on drifted wood, 1982 “29 words in 1 phrase: 1 phrase in 29 things: 29 things in 1 work” acrylic on drifted wood, 1982 “83 Words in one thing: one thing in 83 times; 83 times in one sutra” acrylic on drifted wood, 1982 ​ 1981 🔺 1981 “Water sound instrument”, Gowanus Memorial Art Yard, 1981 ​ 1981 John Shell “Talk of Town,....It is called ‘The’ sound”, he told us that the sound is the meaning of time,...to be experiencing the time is sound...”, John Shell, The New Yorker magazine, 7.27 1981 John Perreault “gigantic...performance of his ‘The’ sound; this water pool sound instrument was the most visual thing I had come across yet.” John Perreault, The Soho News, newspaper, 5.27 ​ 1979 🔺 1979 Kay Larson “built a pool and amplified the sound of water dripping into the center plop, plop, plop,... It was a contemplation piece; you were to focus your attention on the plop sound and notice that it seemed disconnected from the image of the droplet ...entering into the mood of a work like this gets harder as the years drag on.” Kay Larson, Voice, weekly newspaper, 10.2 1979 “Meditation”, PS 1 Museum, 1979 (Water pool, sound, light) 1977🔺 1977 “The now is” sutra ​ 1977 One word in two hundred and thirty-four strokes; Two hundred and thirty-four strokes in one work; One work in two hundred and thirty-four days; Two hundred and thirty-four days in one meaning; One meaning in Two hundred and thirty-four places; Two hundred and thirty-four places in one thing; One thing in Two hundred and thirty-four changes; Two hundred and thirty-four changes in one thinking. ​ “the now is” writing, typed on paper, 1977, Store at: Mizuma Art Gallery ​ Let The Work Be “No Change, No Chance, No Choice, Not Here, Not There, No Progression; No Beginning Nor No Ending, No Finite Nor No Infinity, Nor This, Nor That, but with the state of “the now is” writing ​ “Still”, Type writer with “the now is” writing contained in glass case, 1977, Structure destroyed. ​ “the now is” writing on the stone, ink on lime stone, piercing the hole, 1991, Private Collector, Japan “Writing on the stone as a brush’s traveling the world; from north pole through the equator to south pole.” 1) The writing begin at a random point continued from left to right traveled geometrically, become a spiral line. The writing reaches the limit at the edge of stone. 2) The writing continues, by turning the stone. The form of ♾️ guides the direction. 3) The writing ends. The chance point was discovered. The result of this writing on the stone: The creation of an axis. 4) Piercing the stone axis: begins and ends; front and reverse, to connect with string for another stone of work. I am still counting the Brahma days in my single grasp, beginning with single piece. I am still writing the Brahma days in my single grasp, still begin with single day. ​ 1977 “The Is Now” “Is Now The” “Now The Is” “Now Is The” “Is The Now” “The Now Is” ​ 1977 “The” “Now” “Is” ​ 1977 “Index to focus” Conscious, Point, Focus to What ? “Phenomenon” Image, Vision, Thought, Message, How to sense ? “Being” Isness, Suchness, That is, It is, Being Being Being, Continuity? ​ 1977 “That now is” “I am that I am” “It is what it is” 1977 “ “ “vision” “Sence” “Illusion” “Real ? It disappears, but close my eyes, it appears” 1977 “is-be” ​ ​ 4/8/1977 飛行機は、まもなくJFKに降り立つ。 薄ぼんやりの空から下界を見下ろしていた。 ​ それは空からやってきた。 空を見ていたのではない。 空虚さえも見ていない。 何を見ていたのか? 何も語らない、何も現さない、 だが、そこにすべてがある。 ​ それは自らという意を所有しない。 意を所有しないから、イメージ、図も所有しない、 その分別識、一切を所有しない。 ​ その意を如何に説明しようか、 説明などできない。 こちら側のという謀以外には。 その「起」が、存在の本質なのかもしれない。 それを説明をせよという夢うつつが、作品の「因」。 ただ出来ることを記述する。 意で来ることを記述する。 出来ることを記述する。 その。 それが見えるということ。 それが存在である、ということ。 ​ 誰が指差し、誰が見せ、誰が存在させ、 誰が指さされ、誰が見、誰が存在しているのか、 ーーーーーーーーーーーーーーーーーーーーーー 先ず ① ② ③ が与えられたとせよ。 ーーーーーーーーーーーーーーーーーーーーーー 先ず ①その:指差すこと ②見えるということ:現象 ③存在であるということ:存在 が与えられたとせよ。 ーーーーーーーーーーーーーーーーーーーーーー ①その②が③であるとは ②見えるということ ③​存在であるということ①その②見えるということ ​ これら三つそれぞれが 「③、②、①」 独立するも、それぞれの意味の補完なしにそれは ​ ?→②「→①→③→②」 ②として目に見えるものにはなり得ず、 また見えたとしても、 ​ ?③→「②→①→③」 ③存在という無限の働き無くしては 存在にはなり得ない。 ​ ?→①「③→②→① 」 ①然もそれは、指さされることによって 見えるものとなり得るのである。 ​ この波動を観える物として示すは三文字の記述に在り ③→「②→①→③」→②「→①→③→②」→①「③→②→① 」 ​ 「is t he now」経三位一体① 「t he now is」経三位一体② 「 now is the」経三位一体③ これら三文字は世界万物と同時の意図を表すのである。 ​ ーーーーーーーーーーーーーーーーーーーーーー ​ 4/8/1977 The plane will soon land at JFK. I was looking down the world below from the dim sky. It came from the sky. The sky, what I mean the emptiness says nothing. That's because they don't own the meaning of themselves. It doesn't own the intention, neither own the image, the figure. It doesn't own that sense of discretion. How to explain that intention No "cause" therefore no effect, but only "is-being" act. Like the vision in the dream becomes the "beginning" of life works. It was a sign of the writing "is the now" at a later date. ​ 2012🔺 ​ 2012 0605 1060 微生物の本体は酵素 生物の登場は酵素状態の結果にすぎません。微生物の存在というのは、物質的実存でなく「状態」であると見ています。人間社会も同じ、無数の人が確率的に存在しますが、その本質は状態にすぎず、個的存在は結果にすぎない。人間の弁証法による見方です。それは光粒子のホログラフィックな仮想映像です。 ​ 2012 0605 1059 保険、製薬、医者が三位一体 米国は保険会社、製薬会社、医者が三位一体。彼らの仕事のために病気を作っているという報告が少しづつ表面化して来ている。実はあなたもかつて、その医療関係の当事者を演じて数多くの人々を殺している。この世界は仮想の世界、それを観察する。その視点を全てに応用すれば世界は住み良くなる。 ​ 2012 0102 1019 あなたは死なない あなたは死なない。「死」は人間の作った妄想概念であなたを支配の牢獄に閉じ込めておく洗脳の仕掛け。吾々の本質は「霊」で「不生不滅」死ぬことができない。物質も変化、形、性質は変わるが滅しない。無は存在しない。ニコラ・テスラも言っていた。目で見える世界は心の妄想である。心自在である。 ​ 2012 0102 1018 あなたは今は人間です われわれは人間を演じています。永遠にはすべての、そのひとつの聖なる存在である。苦悩は、仮想パルスに気づくプロセスに、本の束の間の、自らが背景や配属に至る詳細なプログラムを作り自らが主に提出し契約を得て経験している。結果は、別、究極、それらを含めて生を学ぶ楽しみを体験をしている。 ​ 2012 0102 1017 あなたの中にある部分です 神、自分、又は他人とかということは、自分の内にある心の設計です。自分自身の内のマスター性を気付かせる意図です。鏡の写しの仕掛けの鍵を見抜くことです。分身として自らが実践体験するプロセスに目的が潜んでいます。簡単では体験の意味も面白くもなく、あえて複雑に、各種の試行錯誤を繰り返す、全ての仮想現実の演技者であった分身の目覚め物語を観察する大作映画です。 2012 0102 1016 あなたが宇宙を創った インドにサイババという人がいます、その人は宇宙を創ったと言っています。そう、いまここにいる一人一人が宇宙を創ったということを思い出させるための言葉です。いま、と書いたのは、いまこれを読む是現在で、時間は仕掛けられた仮想の連続画、グリッドパルスの投射図。目の領域視野を埋め飛び込んでくる謎めいた映像の連続に騙される劇場映画の現実をいまと見る同じ働きです。 ​ 2012 0101 1015 夢中説夢 夢というのは、あなたがその中にいるうちは現実である。夢の中にいる間は、それは列記とした現実である。夢の中にいる間は、確固とした現実と反応する電気パルスがDNAに仕掛けられている。知っていても忘れる仕掛けである。潜在意識に暗示の信号を繰り返して送って顕在意識に思い出しのパルスを送ることが出来る。信じ込みを自意心に命令するのである。これを読むあなたが、命令を受ける奴隷、当事者ではないということ。命令するのは、あなたである。 ​ 2012 0101 1014「自分を忘れ思い出す」 「自分を忘れたことを思い出して下さい」あなたは観念以上の存在なんです。自分が思ったことは、存在するのです。真に、心に、信に、神に決めることで、すべてが可能です。ですが、ほんのちょっぴりのかすかの疑いがあったなら、それは実現しません。そういう仕掛けです。100%気付くことを「決める」ことで変えられます。自分の意識に根気よく命令するのです。「決める」のです。 2012 0101 1013「あなたなしには何も存在しない」 「あなたの存在なしには何も存在しません」簡単なことです。あなたが全てを創造しました。想像も含めて、登場する人物も出来事も、隅々にわたる物語も、これも、伴侶も子供達も、嫌な奴も、好きな出来事も大きな映画のセットの実物も映画も仮想を作ったということも、これらを打ち消すこともです。 ​ 2012 0101 1012 存在を創造したのはあなた 存在を想像したのはあなたです。ですから...あなたの他にあなたの宇宙であなたを否定する存在はあり得ないのです。あなたの宇宙にいるその存在はあなた自身を知るためだけに存在しているのです。それ以外あり得ないのです。だから、あなたは完全に安全なのです。これは学びのために自身が意図したのです。 ​ 2012 0101 1011「姿を変えたあなた」 「あなたがどんな出来事と関わろうともあなたは直接的にその事件と関わっているのではなく」「姿を変えたあなたの創造」としての出来事をあなたの宇宙に起こさせ、それらとの関わりを登場させているのです。 #是現在 ​ 2012 0101 1010 あなたは「出来事です」 あなたが「究極の具現者です。」神という虚像も、彼が言ったという人伝の言葉も、聞くあなたも、無視するも全て自ら発しています。それが嘘か真実かは自らが決め変えられます。日本語は素晴らしい道具です。心は神とも読めます。あなたから全ては発し自由です。言霊はヒントで無限の視点を示しています。 他から得たという作用に依存するのは、そのように操作されているからです。厳密には、そのように操作されていると信じ込まされている巧みなパルス作用です。そのことを、考えてみて下さい。誰が発した言葉を誰が受け取り、誰がその言葉を選び聞き、どのように解釈するか、それはあなたが全て決めます。選ばないことも決められます。見ない聞かない知らないも決められます。 どのように判断し、どの選択をするか、全ての結論は、あなたが決めます。あなた以外の誰も決められません。選ぶのは自分です。世界に真実はたくさん並べられ無数の真実が並んでいます。同時にそれらは全て嘘です。それは目を閉じたら消えてしまう捏造、または創造、想像で、すでに存在しません。真実は偶に選び取られます。そして選ぶ必要もない空虚です。空虚は何も言いません。 だから、あえて存在とする、その内の気に入った一つを選んでいいのです。選び取る時に、恐れさえなければその選択は間違ってはいません。自由とは、もとより自在です、だからそれを返してくれというのは、支配下の自分を認めて他に委ね頼む、恐れのパルスのスイッチです。「自由がなくなったらどうしよう」と頼る他力本願、恐れの働きです。元より自由自在なのに、おかしいね。 ​ 登場人物には、信じ込みの役割に他人が含まれます。しかも複数ですから、ものすごい数の他人が周りにたくさん登場してきます。彼らは、あなたが作った物語の仕掛け、裏方さん達バックグラウンドの兵隊です。あなたはそうは信じないでしょう。まさか、自分が自分を騙すために、その仕組みを作ったとは思わないでしょうが。学びの本当を体験して頂く仕掛け人形達です。 あなたは全能の神です。あなたはずば抜けた知恵を持った全てです。調整を含み、誤認を含み、曖昧を含み、やり直し、書き換えも含み、そのような、仕組みがあることも、それを疑うことも、逆に気付かないか、反発さえもする、考えられるバリエーションの数々を含む、ありとあらゆる、しかももっと複雑な仕組みを作り、なおも作り続けられるあなたは全能の神、その分身なのです。 登場人物だけではなく、その物語の作者も、その作者を批評するもの、それらを考察する学者、研究家、分析するもの、それを脚本にして映画を作るもの。これら全部の設計者。それらを観察する観客も含む全部があなたの作品なのです。このようなこと、考えてもみなかった、と思えるほどのあなたは素晴らしい設計者なのです。これを聞いても、あなたは決してそうと、気が付かない。 そしてその分身を、この地球に送ったのです。記憶喪失で自分は誰だったか、とふと思う。だが、転生と同時にすぐ忘れ、また探し求め、思い出せない自分を何度も生まれ変わり、輪廻転生を繰り返し、また繰り返し、なおもまた、思い出せない自分を何億年も何百回も輪廻転生し、やっと今回、思い出す段階を得ることが得られそうな、登場人物として自分を配したのです。 ​ 2012 1440000 記憶喪失の罠に閉じ込め、輪廻転生を繰り返し、世界のベストセラーの筆頭、聖書の書き換えられた物語を読まされ、その聖書物語の映画に洗脳され。懺悔、罪悪、恐れに慄くパルスに反応し、美を選ぶ幾何学の形体と波動の協調が仕掛けられ、性の衝動、食欲のパルスが埋め込まれDNAは書き換えられた。 ​ @Me_We_Me_We 2012 ​ 目がさめると「罠」が起動する。生の「繰り返し」に「恐れ慄き」束の間の教義快楽の「生」を楽しむ電磁波が作動する。「その現在」が仮想=イリュージョンである、人類はそれに作動し化学反応を起こし 「パルスに従う」のだ。 気付いてはいけないと意識作用が自を号令するのだ。これを読んでも、君は疑う、それだけ教義信念がイオンの不滅のごとく堅固だからである。 ​ 言葉は物質である。物質的に働きかける信号パルスがグリッドと意識に連結し物質化の作用を引き起こすのである。 ​ 「明日何が起こるかわからない」という言辞は不安感回路に導く隠された暗示の 罠である。その言辞は無意識に刷り込まれ顕在化しているのだ。 無思考、観察視の高位の位置から観察すると心すこと、いと簡単なことと決めること。 ​ 「外側の世界」という言辞は、分断が隠された罠である。本来は外も内もない、言葉はイメージで分断を無意識下に設定し顕在意識に刷り込まれる。 ​ 同様の方法で、自身をコントロールできる。潜在意識の反復の作用を自分自身に施すのである 。全てにその方法が活用できる。写経が、その目的のひとつある。意味をなし、イメージに成す、反復し、意識し、繰り返し、自らは無意識に顕在化させると決める。そのイメージがあるから、そう成ると決める。 この文章も含め書き込まれる言葉の洗脳によって物質密度に誘導される。そこから脱却することを真意に働きかけ、厳密に、それではない、という無意識設定の言葉に思いを込め表す。その自身の行為を観察する高位を意に図るのである。これを意図するを、意識するといい、行うを意志とするのである。 ​ 自分とはすべての元より発しているのなら、DNAでさえもが自分である。そのアクセスを忘れたと言われ、それを信じ込むパルスを起動させているだけである。そうではない、と命令するのである。意志によって、その機能を起動させると決め、その働きを引き込み意識を起動させ、そう意志するのである。DNAの64本は自身と再結合するのである。この方法を念ずるという。 安堵感を持って響く、平和を思う、祈る、願うの言辞には疑惑が背後に潜み暗示作用を起動させる罠である。自分は完成された存在である。不足は何一つとてないのである。そのように意識し、そのように意志するのである。 私は祈らない、そのように決め、そのイメージをし、その指令を出す。祈りは他力本願を込め他に願う作用が起動する罠が潜んでいる。自分の意を他に委ねる波動である。自れの心に働きを起こす。意識に決め、そのように形に表し行為に落とし、実現が生るので在る、是現在である。 他力本願とは、他に何々をして頂く委ねる、潜在意識に支配下である旨を刻み込む 罠である。あなたを救うのはあなた以外にはいない。誰かに頼る、何かに委ねる、という刻み込みがある限り、あなたは輪廻転生の牢獄地球からは脱しない。あなたが探し求める答えは、あなたの内にすべて潜んでいる。 目を閉じ、思いつくままの想像が第一歩である。だが、恐れが出てきたら、又はこうしなさい、あれしなさいと、意に反する不快感が出てきたなら、そのイメージをゴミ箱に捨てる想像をして下さい。気分がいい思いのイメージに付け替えます。それらに光が照らされる画像を垣間みて下さい。これが自力の第一歩です。創造の第一歩は意識する想像から始まります。 ​ 「無数に偏在することごとくの、そしてひとつの、宇宙の波動」であるとは、全て同時であり、もとより偏在し、あえてこれを意識することにより、心意識に働きかける言辞です。具体の世界では、イメージもできる限り具体、想像が細部にわたるほど実現が早まります。なんでもが可能になります。 段階的な表現で、第三密度脱却少し前までの表現法である。 次のレベルでは、もとより全く自由であるから、自由を願う必要はない。であるのに、自由を願うとは矛盾である、ことに気付くのです。それを願うとは、自らが、不自由であると顕在意識での決めつけをあえて認識に刻む行為です。 言辞の用法による洗脳は、凄まじく巧みです。世界のすべての構造に現実社会の仕組みに、学校教育の、社会構造の、特に情報文化、メディアのテレビの言葉の用い方のひとつひとつに至るまで、きめ細かく、行き渡り、大きな洗脳の目的が途轍もない長い歴史に渡って隠されています。 自分たちが望む世界を、そのようになる、と決める、そのように為すと決める。それをイメージすること。そのように活動し、建設していくイメージを具体的に持つ世界はいずれはやってきます。ですが、そのようなことは、過去幾度も、幾万も、何億年も、ひょっとして何兆年も、そうであったような、そのような記憶を自分は夢に見ました。目覚めの時、これを書き留めました。 ​ この世界の一つの秘密は、この世界はあなたが作ったという事実である。あなたが、そのひとりなのです。その認識を忘れた、と信じ込んでいることである。だから、その真実を選び認識しているのである。この言辞が秘密である。この言辞を知る出会う者が、創造主なのである。聖者の一人とは、実はあなたである。何か疑問は?あなたは是現在この秘密に出会ったのです。知っていることを思い出したのです。 ​ @Me_We_Me_We 2012 ​ ​ 2020s 01 OSDLM 2017 02 ARCHTYPE 03 ARMORY 2019 04 MIZUMA 2018 2010s 05 WOUNDED 06 MOTHER 07 AND HER 08 CHILDREN 1990s 09 WOUNDED MOTHER 06 PARAREL LANDSCAPE 07 EMPTINESS 08 CHALKBOARD SUTRA 1990s 09 SIGN OF THE TIMES SIGN OF THE TIMES B 10 IN MEMORY OF 1992 11 ENSBA, PARIS 12 HAKODATE MUSEUM 1990s 13 ISE ART FOUNDATION 14 IHARA LUDENS 15 ICA PHILADELPHIA 16 EXIT ART 1980s 17 MOMA PS 1 18 MOMA PS 1 19 GOWANUS MEMORIAL 20 GOWANUS MEMORIAL H SITE ​ PRESS ABOUT 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 JUGEMUJUGEMU 寿限無寿限無

  • Hiroshi Kariya | New York Based Artist | Bibliography

    TOP 2021 2020 2019 2018 2012Eng 1998 1997 1996 1995 1994 1993 1990 1989 1982 1981 1979 1977 2012和文 2020s 2010s 1990s 1980s CONTACT H SITE ​ PRESS ABOUT 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 THE NOW IS TELEPATHY INDEX | Descended order | 2020 2019 2018 2012e 2012j 1998 1996 1995 1994 1993 ​ 1990 1989 1982 1981 1977 2021🔺 ABOUT You exist But Pavlovsky enlightens, "What do you know about it in ways other than your sensory experience?" ​ Kariya dumbs, the answer to humans is only an "explanation" of the "index" of existence, then examines to experience and observe the objects in his physical way to wonder where that index comes from... ​ Kariya decomposes a method to break down the "explanation" of "the index" and "existence" into three letters "the, now, is" and verify the existence by consciousness, action, and record. However the source is emptiness. It does not speak. It does not portray the self, but the index is within oneself, consciousness is a singularity phasing within all beings, calls existence. The total number of minds in this world is one. One is all; all is one through experiences of the trace record of living. Its existence immediately appears in the description of living footnotes. The footnote is a group of letters that "explain" "its" and "existence", or traces of continuous signs. Kariya examines, the reality between the spatial arrangement and the work related to the space-time fabrications. However, even a brand new trace is immediately assimilated into "existence", and finally all systems, chains, and relationships become a landscape of explanation. As it is the only one of a kind example of its explanation. Kariya continues to transform and verify the writing of the three letters "the is now" is always with us all on the object, expressing, "No, Not." This endless study began ever since he moved in the United States in 1977. ​ The writing is connected to the object through object, and the thread to thread of "is now the" are repeated as code of emptiness. They are recorded and exhibited as "matters that show the references", of "the sign of the time", and "is" with the physical fabrications. ​ Then he collects illusion of "now is what" matters: words, titles, objects, faces, symbols, marks, emblems, codes, all of which a constant state of influx..... (more) ​ The work is constant ONGOING "thread" makings. All is from the same source, but with different aspect of life. His early works were exhibited in his solo show at Exit Art, NY in 1989, and following solo exhibition "SUTRA" at ICA Philadelphia, in 1990. It becomes the codex of following works. “Sutra” Sanskrit; code, thread, string, book binding string, or a scripture. Sacred code, line, measuring line, sequence, column, grid. ​ Kariya has exhibited at the MOMA PS1 "Meditation" for the "Sound Show" special project, 1979. Exit Art "Sutra" 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing" 1990, "Et Maintenant" ENSBA, Paris, 1998, lectures and exhibitions at sebral organizations, museums, galleries. ​ (copied from 12/2021) ABOUT あなたは存在する。だが「あなたの感覚の経験以外の方法で、あなたはそのことの何を知っていると云うのか?」とパブロフスキーが啓発する。 ​ 刈谷は黙す。「その」「存在」「説明」を三位一体構造の意図に発し仮想現実世界の実践で示すのである。地球上で「それ」を示すには言葉の存在、その言葉の所以を自身の仮想現実で「説明」せねばならないからだ。 ​ 刈谷は「その」「存在」「説明」を「the、now、is」 三位一体 に配列し、存在を意、行識、記録によって検証する観察芸術を提示する。存在を描き写すのではなく、存在の痕跡実録体験による仮想の本性を観察する表現である。この世界全存在の心はひとつである。全てはひとつである:ひとつが全てである。このひとつの同時に全ては実現し変化している。任意選択する微妙のひとつひとつの戒名の記録に自らの実践にその元を観察するのである。本性は己と全てと体験との同時に出現している。人間、そして全ては元より発している、元とは始まりである、この現在の微々妙々がすべての元となるのである。 作品の表面は「その」「存在」を「説明」する文字群、または連続する護符の痕跡である。展示に於いて時空領域に関係する空間配列、作品、物証とのイリュージョンが検証される。壁面では如何なる痕跡も「存在」の称号託宣であり、一切の系、連鎖、関係、説明の風景でしかない。刈谷は「これではない、それではない」仮面配列行為の連続をオブジェへの三文字書き込みに下し全ての本性同時一体を筆記しつづけるのである。 この実践は1977年渡米時より始まり全ての元、是現在を提示しつづける。 ​ 記述はオブジェとオブジェに連なり、繰り返す「the now is」でありつづける。記述は時、場、空間のグリッド氷解を意図し、言語情報の「元型、関係、説明、時刻」などの図りごとを観察する道具と生るのである。 三文字と並行し、同時に仮想「現在」を代弁する時の刻が追随される;言葉、題目、オブジェ、顔、シンボル、記号、称号、符号など流動変化途上の化身である社会言語情報の根拠、検証を提示する… (もっと) ​ 作品は現在進行形の「スレッド」である。初期作品は、1989年Exit Art, NY、翌1990年にICAフィラデルフィア にて個展「SUTRA」で巡回展示された。 「経」サンスクリット語;いと、糸、紐、系、本、綴じ紐。 神聖な、コード、符号、暗号、測り定める線、数列、列。 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」展、 ENSBA, Paris, 1989, 他各諸団体、公共機関、美術館、画廊などで講演、展示。 ​ (copied from 12/2021) 2020🔺 2020 The work "OSDLM 2017" is a collage, of a handful of daily works of "Seed Sutra", on a transparent plate. There are two layers, one on the front and the other on the 2nd layer behind, with seeds on the front and data of the work in progress (instruction, quantity, location, mistakes, corrections, rewrites and fabrications) . Hiroshi Kariya, OSDLM2017, Assemblage of Seed Sutra, Mizuma and Kipps, New York, 2020 2019🔺 2019 The work is made as a document of making, with foot note directly left on the surface as painter’s brash stroke. It is in-facts as whole story was left on the surface under artist’s law and order, whatever is. It is to investigate wether we find any truth or just magical illusion on the surface. Hiroshi Kariya “OSDLM 2018 Mother” The Armory Show, New York by Mizuma Art Gallery 2019 Combine with Face Sutra and Seed Sutra. The work is made as a document of making, with pasted face articles cutout, as sign of the times collaged. The surface presents as painter’s sign of the time strokes. It is to create the new magical illusion on the surface. Hiroshi Kariya “OSDLM 2018 Her Children SR” The Armory Show, New York by Mizuma Art Gallery 2019 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. Hiroshi Kariya, “Archetype”, Mizuma and Kipps Art, New York, 2019 2018🔺 2018 Olga Burakmedi, Independent curator/ @artkukhnia Kariya Hiroshi says that the code is in “the index to point what is the illusion and the index to point what is the reality”. This world is a twisting the reality and art is trying to bring you back to awareness to differ the illusion from the reality. The code is not out it is inside you. Olga Burakmedi, “It’s all about the one piece, and millions of others, Mizuma Art Gallery, Tokyo, 2018 2018 His “the now is” written each day for the amount of a handful of seed pasted the same Palm-sized transparent acrylic, one day “the now is” in the day, along with, we actually see in the Gallery of a myriad of the acrylic is the iterated accumulation. Seed flock while painting with acrylic plate of every different pattern as a whole come a huge movement of small particles. Another part of this exhibition series, entitled “Face Sutra” further also were on display. Human face news photo article image were collaged on the surface of the each seeds, and pasted on the acrylic, while on the other side “the now is” or “else” was written. Shinichi Takashige, Real Tokyo review, 1/13/ 2018 2012 🔺 ​ 2012 0605 1060 The body of microorganisms is an enzyme 2012 0605 1059 Insurance, Pharmaceuticals, Doctors Trinity 2012 0102 1019 You won't die 2012 0102 1018 You are human now 2012 0102 1017 This is the part inside you 2012 0102 1016 You created the universe 2012 0101 1015 Crazy theory dream 2012 0101 1014 Forget and remember yourself ​ 2012 0101 1013 Nothing exists without you 2012 0101 1012 You created the existence 2012 0101 1011 You changed your appearance 2012 0101 1010 You are "an event" ​ MORE > selected from Kariya's diary memo. ​ 1998🔺 1998 It is certainly this consciousness that Hiroshi Kariya animates his work. He engraves the names of the genocide scenes being exercised in the world on a black slate plate, which has already healed in the fact that they become news articles and that the articles are cut out. It may have been slaughtered. However, Kariya physically perceived the weight of suffering by recording it in a format at the same time as his sutra, and tried to make this series of actions a prayer to relieve the pain that now tears our planet. is. It is immortal because it is not "coming" but "its present" its continuation. Izumi Omata, ”Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998 ​ 1998 Eric Mezil, Directeur du musée Collection Lambert Hiroshi Kariya's method is, He accumulates passes, sometimes he retains only The title, cut in newspapers whole world events and sticks these words on slates of school chalkboard. On the reverse side, he writes a small sentence in white chalk that will inevitably fade over time. "Now is the now is the now ..." is a lifetime motif in all of his work. For many years he has chosen to live in New York, and like any immigrant, he feels concerned by the problems of his country but also by every drama that taints the world well beyond the archipelago. Eric Mezil, "Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998 1997 🔺 1997 I am still writing “The now is” sutra. I am still wondering about it. 1997 Takashi Kitaoji, Review on Hiroshi Kariya "1996 Sutra" Exhibition If a person with no preliminary knowledge visits the gallery in the afternoon, he will not be able to read the letters "the now is", which covers the blackboard as usual, and will probably understand that they are unknown foreign languages on vague grounds of the cut-out of a 1996 newspaper article on the back of the chalkboard - the disasters in Bosnia, Rwanda, and elsewhere. So why is this blackboard appearing here? If I would ask him "Is this Sarajevo ruin here?”, I assume that he would not say yes to it. Then, the ruins placed here are speech-loss. “What is here is one thing: that is everything… nothing exists apart from that” (quote: H. Kariya) Takashi Kitaoji, BT7/97 Page 152, 1997 1996 🔺 1996 Planting the seed of an idea in the here and now “...Kariya writes “The now is sutra” on both sides of a dried bean, going through about 100 beans every night before going to bed...with notes of his daily thoughts… Based in Brooklyn, N.Y., his open poem was first in English; One piece of Brahma Day One piece of “the now is” One piece of 8,640,000,000 years 104 pieces”, Miki Miyatake, The Japan Times, 5.1, 1996 ​ 1996 I am still reading ‘The New York Times’; in different date, in different name, in different place, in different print. I am still reading ‘The New York Times’; in different words, in different pictures, in different stories. I am still reading ‘The New York Times’; in different titles, in different times, in different killings. “1996 Sutra”; (news title sutra), typed on paper, 1996 Words are “produced and exist, so also our presence that the world has existed”, yet I could live without it. If you have observe the detail of Kariya’s “Chalkboard Sutra”, you will recognize that the writing on this work is not freshly written but layered, written and erased over and over. The chalkboard as media; writing on a whitish half-clear surface, as it is difficult to erase previously written words perfectly. I think everyone recalls, with this sort of chalkboard image, the memory of school life in childhood. “Chalkboard; 10 Years later, Chernobyl” acrylic on masonite+chalk+eraser, collage on reverse side, 1996 1996 “Chalkboard: 10 Years later, Chernobyl” reverse side of work To enter the gallery floor… is my chalkboard… My foot to enter… My hand to chalk proceed my life… To enter this life… Proceed my chalk writing… To exit my foot proceed to erase my writing… With my light particles creating holographic of physicality, everything no begins nor ends, but is the now. The world is a chalkboard. Our feet are the eraser Our hand is a chalk Within ourselves we built and we demolish Hiroshi Kariya “Chalk writing of “∑ 139+89 words”, and placing a daily work of “Seed sutra”, Mizuma Art, Tokyo, 1996 1996 “The concept of ‘making’ as a Buddhist theory of composition...His creation, as well as destruction of visual form; It begins with a concept, that works through his body using feet and hands, and ends with an incredible sight of beauty on the gallery floor... his endless ”the now is” writing...”, Toshihiko Washio Komei newspaper, 5.15, 1996 1996 “innumerable ‘the now is’ writings in chalk, lead us to another dimension… while you are focusing on the spiral writing,...soon you begin to notice the gallery space transforming into the metaphysical field; from ordinary concrete floor to an aged ancient granite rock, and the wall begin moving away out of sight” Akio Sagegami, Shodoh Kai magazine, July, 1996 Let the candle light to see what is writing; “the now is” to read “the now is” writing “the now is” lighting “the now is” Reading Candle Writings curved on candle, 1995, photo; Hideki Hiromoto I am still writing “the now is” I am still writing “the now is” I am still writing “the now is” 1996 “Gallery”, weekly magazine PIA, 4.30 1996 Toshihiko Washio “The concept of ‘making’ as a Buddhist theory of composition...His creation, as well as destruction of visual form; It begins with a concept, that works through his body using feet and hands, and ends with an incredible sight of beauty on the gallery floor... his endless ”the now is” writing...”, Toshihiko Washio, Komei newspaper, 5.15 1996 Akio Sagegami “innumerable ‘the now is’ writings in chalk, lead us to another dimension...while you are focusing on the spiral writing,...soon you begin to notice the gallery space transforming into the metaphysical field; from ordinary concrete floor to an aged ancient granite rock, and the wall begin moving away out of sight” Akio Sagegami, Shodoh Kai magazine, July 1996 Miki Miyatake “Planting the seed of an idea in the here and now...Kariya writes “The now is sutra” on both sides of a dried bean, going through about 100 beans every night before going to bed...with notes of his daily thoughts...Based in Brooklyn, N.Y., his open poem was first in English; One piece of Brahma Day One piece of “the now is” One piece of 8,640,000,000 years 104 pieces”, Miki Miyatake, The Japan Times, 5.1 1995 🔺 1995 A.M. Weaver “Hiroshi Kariya’s installation ‘No man is free who is not master of himself’ is a grand crescendo. His chalk board writings, collages and wrapped forms are crowded into a prison-like enclosure… Kariya’s construction attempts to engage the viewer by challenging the perception of prison; here the prison is the self, the mind, systems and world conditions...” A.M. Weaver , Painted Bride Art Center, catalog essay ​ 1995 Hiroshi Kariya’s “No Man Is Free Who Is Not Master Of Himself” EPICTETUS is a grand crescendo. His chalk board writings, collages, and wrapped forms are crowded into a prison-like enclosure. (Kariya quote: this is a small scale of our 3D-physically-informed world, we are the prisoner) Each item, material and mark alludes to a complex matrix of events, activities, public and private and world conditions. No Man Is Free Who Is Not Master Of Himself is a continuum of a work created in 1993. Sign of the Times, Kariya’s installations evolve and flow like a river from one piece to another. An integral part of his process is to compile layer upon layer of data, building each project by expanding or editing depending on time and space. A. M. Weaver, Curator, Painted Bride Art Center, Philadelphia, 1995 ​ 1995 NO MAN IS FREE WHO IS NOT MASTER OF HIMSELF -EPICTETOS- ​ Installation: 3 The prison is our world, 2 The prison is our nation, 1 The prison is our border, 0 The prison is our religion, 9 The prison is our hierarchy, 8 The prison is our system, 7 The prison is our program, 6 The prison is our classroom, 5 The prison is our choice, 4 The prison is our believe, 3 The prison is our thoughts, 2 The prison is our physicality, 1 The prison is our consciousness, “13 wrapped bodies lie on the floor inside the prison. Beneath them, the floor is covered with 1000 multisided, chalk writing covered chalkboards. They are individually chalk board is attached with collaged newspaper clippings of our social news articles, and or erased surface. Erasers and chalkboard are randomly placed.” *** *Large version of 4 installations was originally installed in 1994, at the Art Tower Mito, Ibaraki and Mizuma Art Gallery, Tokyo, Japan, under the title “Sign of the times”. Painted Bride Art Center, Philadelphia, Penn. USA Hiroshi Kariya, 1995, Catalog Essay ​ 1995 Toshihiko Washio “Kariya is trying to capture ‘Time’ by means of his symbols which appear and disappear. Without their emergence, ‘Time’ exists only in an undisturbed limbo...However, if none exists, no sign appears..the meaning in his writing of “the now is” expands to an extraordinary dimension..” Toshihiko Washio , Art Journal, magazine, July ​ 1995 Tsunaki Kuresawa “Chalkboard Sutra with combined element, chalkboard, chalk and eraser as one unit...as composition of our world...Each chalkboard is marked with writings or erasing of his ‘the now is sutra’. The phrase is an index which points to every moment of “now”… a meaning extends, at the same time, to the unascertained existence of eternity...” Tsunaki Kuresawa , monthly art magazine BT, Sept. 1995 Hideki Nakamura “Art as representation of today’s mental structure”, Hideki Nakamura, monthly art magazine BT, June 1995 “..by using discarded objects to rebuild‘Time’”, Monthly Gallery, magazine, June 1995 Tamaki Harada “the work is a healing art. His writing of ‘the now is the now is..’ strikes us very deeply to heart.” Monthly magazine CAZ, 6.27 1995 Taiji Yamaguchi “small chalkboards each the size of a magazine, similar to a memorial tablet,.. each chalkboard framed in gilt rests on its gilded chalk ledge..the surface layered with repetition of his ‘ the now is sutra’ writing and erasing.” Taiji Yamaguchi , Akahata newspaper, 6.23 1995 Toshihiko Washio “Striking at first, then a moment of serenity washed over me..He is performing a memorial service; producing a monument dedicated to every moment by infixing his sutra on the surface of the chalkboards...”, Toshihiko Washio, Kohmei newspaper, 6.23 1994 🔺 1994 “Writing on Chalkboard exists with the intention of being erased. Written exclusively by hand, it stresses the existence of life. Words are ‘produced and exist, so also our presence that the world has existed”. Once they appear, they vanish quickly. These works are deeply connected with the writer’s movement of hands, body and voice in front of chalkboard; the writing and this activity becomes one. On the surface, Writing on Chalkboard holds the presence of “now”, it reveals the artist’s voice and performance. A classroom is a mysterious place where fundamental and universal truths are revealed, where a teacher’s total life experience is exposed. As I have already mentioned, Writing on Chalkboard does not become invisible, but remains as sheer traces even though they are erased. Through erasing they simultaneously create a background of new writing. This system is quite similar to human life, isn’s it ? As someone dies, their trace as karma will harmonize with the whole, and forms the background of new life. I believe that one of the most interesting ideas in Kariya’s work is the fact that he has connected the notion of copying the sutras into Writing on Chalkboard. In copying sutra, the writer’s life is settled on the paper by written words, which will last for a very long time. Kariya transferred this process from paper to chalkboard and succeeded in showing a momentary and instantaneous side of life. The chalkboard writing expresses a collective “voice” of today’s humanity as if it were one loud scream. In this stage Kariya’s installation is a classroom, yet, at the same time, could be a prison, a barracks or an abandoned house where graffiti/scribbling is found on the walls... Yasushi Kurabayashi, “Sign of The Times”, Mizuma Art Gallery, catalog 1994 Yasushi Kurabayashi “Kariya’s work is an action complete unto itself with its own complete meaning...Kariya’s work does not present a world situation that is looked at ‘objectively.’ Instead he strives to grasp the world as a whole, including his existence...” Yasushi Kurabayashi, “Open System”, Art Tower Mito, catalog 1994 Seiichi Watanabe “...The end of life, the cessation of a national system or ideology are all influenced by a sense of termination...Today, have many artists experienced or claim that the horrors of termination are inevitable ?...” Seiichi Watanabe, “Open System”, Art Tower Mito, catalog 1994 Akio Sagegami “..the expression of his work is in his writing, more specifically, the sutra writing, which he has simply named ‘SUTRA’ ; the string to connect everything from dust to debris as one organic living unit...”, Akio Sagegami, Shodoh Kai, magazine, Aug. 1994 “Installation...his grid (the axis of co-ordinates) drawing on the gallery wall and floor along with placement of the flowers, chalkboards, candles, and the white cloths of fragments... relating to the work at Art Tower Mito’s gallery wall...” Nikkei Art, magazine, July 1994 “It was shocking ...Kariya’s work...100 wrapped dead bodies, Collapsed girl and vulture waited...questioned us in what is the real beauty ?...” Gallery, magazine, July 1994 “Kariya’s life work theme; ‘The existence is what ‘The now is’ writing is” Nikkei Art, magazine, July 1994 “Open System as ‘94 Mito Annual...” Artist, magazine, Taipei, June 1994 Junichi Konuma “Strong and powerful, Kariya exhibits material as historical evidence and proof of its preexistence”, Junichi Konuma, monthly art magazine BT, June 1994 Tamaki Harada “Every event of the world is connected to our time in ‘The now is’” Tamaki Harada, CAZ, magazine, 5.25 1994 “as many as 100 human figure objects, wrapped in white cloth, Kariya’s caustic statement on ‘WAR’...”, Asahi shinbun, newspaper, 5.12 1994 “Installation, Hiroshi Kariya’s The class room with labyrinth’ expresses our today’s world.”, Art Tower Mito, Mito Annual 1994, 4 artist were selected for this year. NHK TV video Sunday Review, 5.8 ​ 1994 “Sign of the times...Hiroshi Kariya, a N.Y.-based sculpture and art journalist, records words from articles in the news and in journals on tiny blackboards. His installation of 1083 pieces plays up the ridiculous repetition of life’s events.” Tokyo Time Out, May 1994 Chie Kaihotsu “human figures wrapped bodies attached with many small chalkboard, and written topics from the daily newspaper. It seems like an unusual kind of simulation art, but every detail of work is related to his concept; ‘Sutra’” Chie Kaihotsu, Studio Voice, May 1994 “Expression of spirit as open- minded in ‘94 Mito Annual”, CLIQUE, magazine, 5.5 1994 Ryoko Hirabayashi “...to guide art for a higher level of system”, Ryoko Hirabayashi , Elle Japon, magazine, 5.5 1994 “His work examines the sign of the times, with his unique work; Journalistic Painting, Sculpture’” Geijutsu Kohron, magazine, May 1994 Tamaki Harada “Our world exists as humanity does all on the same plane, at the same time, they are all connected in one by ‘Karma’”, Tamaki Harada, City road, April/May 1994 “Kariya who lives and works in New York City, picks up the daily topics from the newspaper, then he copies the titles on the chalkboard...repetition of his writing as much as our world events repeat... as his sutra copying...” PIA, weekly magazine, 4.26 1994 “Sign of the times; monument of the world’s events Year 1993” Iwate Broadcasting TV News, 4.26 1994 Tsutomu Shimoda “...discarded object as a reference to our Karma”, Iwate Nippo, newspaper, 4.23 1994 Taiji Yamaguchi, “...floor filled with an enormous amount of writings in chalk, an installation, you walk on to”, Akahata, newspaper, 4.22 1994 Dylana Accolla “Kariya’s powerful Boltanski like monument to war dead is a caustic statement on international diplomatic hypocrisy that contributes to the deaths of thousands of people every year...” Dylana Accolla , Asahi Evening News, 4.21 1994 Miki Miyatake “Kariya believes that the dead do not vanish from the universe but are present somewhere. To acknowledge their existence, Kariya did a performance that included chalking the topics of his pieces-places of conflicts, oppressed peoples and social problems-on the stone floor of the museum balcony, while those present offered red roses and candles along with their silent prayers....His writing is a confirmation of his life: He writes on air by breathing and on water by drinking...” Miki Miyatake, The Japan Times, newspaper, 4.17 1994 Tamaki Harada “Open System-Art.. as sutra copying, he picks up-dated topics from daily newspaper, and copies on the discarded objects..Then, he assembles them, and finally he exhibits on the wall, this expression appears as a prayer to the world and for the human races”, Mainichi Graph, weekly magazine, 4.17 1994 “There is a room filled with work; ‘Gate of Bandages’, ‘World’s Wall (Torn Bosnia)’, ‘ Turk’s Window’, through ‘Wrapped Bodies’, ‘Bloody Stretcher’, and ‘Sand Bags Wall’, laying on the floor while writings on the chalkboards were hung on the wall..” Ibaraki newspaper, 4.6 1994 “Kariya’s performance; 100 bouquet,Candle light, Chalk writing...” Shin Ibaraki Shinbun, newspaper, 4.2 1994 “Mito Annual ‘94” Shin Ibaraki Shinbun, newspaper, 4.1 1994 Previews “Will Closed Art be opened ?” Art News, Japan, April 1994 Yasushi Kurabayashi “Conceptual” Prints 21, magazine, winter 1994 Yukiko Shikata “Open System” World Art, magazine, Autumn 1993 🔺 1993 “In Memory of 1992”, catalog, Spark Gallery II, April 1993 “Fax from New York; article of Kamaishi’s life-long employment policy,... in New York Time’s front page...” Katsuhiko Sato , Kahoku Shinpo, newspaper, 5.12, 1993 1993 Katsuhiko Sato “Kariya expresses poverty and war victims as ‘used and useless’ by using discarded objects in his art...What can we do with the limited; nature, resources, city, and human...” Katsuhiko Sato, Kamaishi Shinpo, newspaper, 5.11, 1993 1993 Hiroshi Kariya “Tale of Sutra; 9 episodes”, Hiroshi Kariya, Kamaishi Shimpo, newspaper, May/June 1993 “...regarding New York Times’s article about Kamaishi as an example of ‘City as a resource’..What we have done to the city and human was consumption then abandonment...because of past mistakes...Fax from Hiroshi Kariya...” Katsuhiko Sato, Kamaishi Shinpo, newspaper, 5.4, 1993 1993 Hiroshi Kariya “What is here, is one thing; that is everything, including organic matter, time, space, and events which become one single unit... nothing exists apart from that. My work of art: its expression, activity, and our life’s form are on the same plane”, Nikkei Image Climate Forecast, May, 1993 1993 “Mourning in 1992...” Art Now Japan, Mar./Apr. 1993 “Gallery”, PIA, weekly magazine, 3.30 1993 “As journalist’s report, Kariya exhibits today’s wounded world; Somalia, Bosnia, AIDS... in his Art: Journalistic sculpture/ painting” Asahi, weekly magazine, 3.12 1993 “In memory of 1992, includes 18 wrapped bodies..”, AERA, Asahi Shimbun Weekly, 3.30, 1993 1993 “The Year 1992: as journalist, Kariya shows the sadness of our world in his ‘In memory of 1992’”, APO, biweekly magazine, 3.18, 1993 1993 Katsuhiko Sato “...will we also become the discarded object,... in the near future ? The discarded object: it was useful, but now useless. We live, and die... a reference to his mother’s death, Kariya exhibits illness and sadness of our today’s wounded world in his ‘In memory of 1992’”, Katsuhiko Sato, Kamaishi Shimpo, newspaper, 2.26,1993 1993 415 Chalkboard Installation, 415 Palestinians “Peace Before Land” Rabin “Land Before Peace” Assad Hiroshi Kariya, In Memory of 1992, Spark Gallery II, Tokyo 1990 🔺 1990 “ICA represents thousands of sutra, by Hiroshi Kariya”, Penn Life, news, Phil., 3.8, 1990 ​ “Sutra Tomb”, ICA Philadelphia, 1990 1990 “Memory: Ilya Kabakov’s wall”, ICA Philadelphia, 1990 1990 “Kariya illustrates the principle of the sutra by linking his installation with those of ICA’s past. He recycles walls used in a recent exhibition by Ilya Kabakov,...”, University City Review, weekly news, Philadelphia., 3.2, 1990 1990 “1 Piece = $1bill cash = 1 person’s only; No $10, $100, $1000, nor $10,000 bill is accepted Hiroshi Kariya, 800 Kabakov’s wall fragment”, ICA Philadelphia, 1990 1990 “8000 Years Spring, 8000 Years Autumn”, ICA Philadelphia, 1990 1990 Edward J. Sozanski “Contemplating, Creation, Rebirth...It attempts to stimulate in the observer a higher consciousness akin to a state of grace,..far from an outstanding objective...installation represents a prolonged act of meditation on immortality...the process of making it...is more consequential than the artifacts it produces. It is, in fact its essence... search for communion with a cosmic unity.” Edward J. Sozanski, The Philadelphia Inquirer, newspaper, 3.18 1990 Robin Rice “Still breathing, still thinking,...Kariya’s work...an ‘ordering’ activity that is being recorded, and that activity is a spiritual end in itself.” Robin Rice , Philadelphia City Paper, newspaper, 6.22, 1990 1990 Sutra One Thing In Everything: Everything In One Thing 1989 🔺 1989 “Begins and ends” curved stamp, ink, plumb pointing the core stamp, Exit Art,1989 1989 “I-ching chance hexagram, the choice, the chance, the change, the season, the period, the symbol” 1989 “the image, the title, the word” 1989 Kunie Sugiura “the work is entitled ‘Sutra’ . This title refers as searching for the meaning of existence, and is a study in the concept of infinity..”, Kunie Sugiura, BT, monthly art magazine, July 1989 Sutra: Origin Sanskrit; Meaning literally thread or string, sacred cord or measuring line, sketch, plan This work is a telepathic message from Kariya’s higher self written in a single phrase. Coded to the most simple of forms. It focuses on the finite concept of being in recalling the infinite reality of being. It brakes the barrier of time, space, and matter and reveals limitless isolated moments for a universal oneness. Despite linguistic forms, this writing divulges a pure abstract awareness. inherent within the independent consciousness of time / space/ matter immediately proceeding the present. All is happening at the same “the now is”, but with different level of interpretation, or frequencies, or dimensions. As we are all at the state of learning process for the universal enlightenment of love. Not the fear fabricated factors to control humans. 1989 The work is a composite of three functions: (1) to affirm the writing a s generative force. (2) to produce a *ruler to measure the writing. (3) to recall, on the surface: the form of sutra. *language verse by which to gauge or describe symbolic forms. This could be by ruler, structure, materials, system, rather than writing. 1989 3 From the now all proceed In the now all exist and to the now all return 2 This is the now, that is the now, From the now the now has come The now remains the same The now subtracted from the now results in the now 4 The now is here The now is there It is near and it is far It is inside of all this and it is outside of all this All beings in the now and the now in all beings 1 “What is the now ?” “Whence has the now come ?” “Where the now going ?” 5 The now is all this, and again Hiroshi Kariya, Recreation from the text by Upanishad, 1989 1982🔺 1988 “Stone sutra” curving on lime stone, 1988 1982 “One thing in thirty-four words: thirty-four words in one phrase: one phrase in thirty-four changes” acrylic on drifted wood, 1982 1982 “29 words in 1 phrase: 1 phrase in 29 things: 29 things in 1 work” acrylic on drifted wood, 1982 1982 “83 Words in one thing: one thing in 83 times; 83 times in one sutra” acrylic on drifted wood, 1982 I am still writing “the now is” I am still thinking about it. 1982 “One thing in thirty-four words: thirty-four words in one phrase: one phrase in thirty-four changes” acrylic on drifted wood, 1982 “29 words in 1 phrase: 1 phrase in 29 things: 29 things in 1 work” acrylic on drifted wood, 1982 “83 Words in one thing: one thing in 83 times; 83 times in one sutra” acrylic on drifted wood, 1982 ​ 1981 🔺 1981 “Water sound instrument”, Gowanus Memorial Art Yard, 1981 ​ 1981 John Shell “Talk of Town,....It is called ‘The’ sound”, he told us that the sound is the meaning of time,...to be experiencing the time is sound...”, John Shell, The New Yorker magazine, 7.27 1981 John Perreault “gigantic...performance of his ‘The’ sound; this water pool sound instrument was the most visual thing I had come across yet.” John Perreault, The Soho News, newspaper, 5.27 ​ 1979 🔺 1979 Kay Larson “built a pool and amplified the sound of water dripping into the center plop, plop, plop,... It was a contemplation piece; you were to focus your attention on the plop sound and notice that it seemed disconnected from the image of the droplet ...entering into the mood of a work like this gets harder as the years drag on.” Kay Larson, Voice, weekly newspaper, 10.2 1979 “Meditation”, PS 1 Museum, 1979 (Water pool, sound, light) 1977🔺 1977 “The now is” sutra ​ 1977 One word in two hundred and thirty-four strokes;Two hundred and thirty-four strokes in one work; One work in two hundred and thirty-four days; Two hundred and thirty-four days in one meaning; One meaning in Two hundred and thirty-four places; Two hundred and thirty-four places in one thing; One thing in Two hundred and thirty-four changes; Two hundred and thirty-four changes in one thinking. ​ “the now is” writing, typed on paper, 1977, Store at: Mizuma Art Gallery ​ Let The Work Be “No Change, No Chance, No Choice, Not Here, Not There, No Progression; No Beginning Nor No Ending, No Finite Nor No Infinity, Nor This, Nor That, but with the state of “the now is” writing ​ “Still”, Type writer with “the now is” writing contained in glass case, 1977, Structure destroyed. ​ “the now is” writing on the stone, ink on lime stone, piercing the hole, 1991, Private Collector, Japan “Writing on the stone as a brush’s traveling the world; from north pole through the equator to south pole.” 1) The writing begin at a random point continued from left to right traveled geometrically, become a spiral line. The writing reaches the limit at the edge of stone. 2) The writing continues, by turning the stone. The form of ♾️ guides the direction. 3) The writing ends. The chance point was discovered. The result of this writing on the stone: The creation of an axis. 4) Piercing the stone axis: begins and ends; front and reverse, to connect with string for another stone of work. I am still counting the Brahma days in my single grasp, beginning with single piece. I am still writing the Brahma days in my single grasp, still begin with single day. ​ 1977 “The Is Now” “Is Now The” “Now The Is” “Now Is The” “Is The Now” “The Now Is” ​ 1977 “The” “Now” “Is” ​ 1977 “Index to focus” Conscious, Point, Focus to What ? “Phenomenon” Image, Vision, Thought, Message, How to sense ? “Being” Isness, Suchness, That is, It is, Being Being Being, Continuity? ​ 1977 “That now is” “I am that I am” “It is what it is” 1977 “ “ “vision” “Sence” “Illusion” “Real ? It disappears, but close my eyes, it appears” 1977 “is-be” ​ ​ 2012 🔺 ​ 2012 0605 1060 微生物の本体は酵素 ​ 2012 0605 1059 保険、製薬、医者が三位一体 ​ 2012 0102 1019 あなたは死なない ​ 2012 0102 1018 あなたは今は人間です ​ 2012 0102 1017 あなたは内にある全部です 2012 0102 1016 あなたが宇宙を創った ​ 2012 0101 1015 夢中説夢 ​ 2012 0101 1014 自分を忘れ思い出す 2012 0101 1013 あなたなしには何も存在しない ​ 2012 0101 1012 存在を創造したのはあなた ​ 2012 0101 1011 姿を変えたあなた ​ 2012 0101 1010 あなたが「出来事なのです」 ​ Selected from Twitter @Me_We_Me_We 2012 ​ 内観現実 目を閉じると「現実」が起きます 。目を開けて見る世界が「虚構」。 ​ 言葉は物質です。でっち上げのグリッドに繋げ物質化させ意識を作動させます。 ​ 「明日何が起こるかわからない」という表現は不安が隠されている罠。 ​ 「外側の世界」という表現は、分断意識の罠が隠されています。 ​ 同様の方法で、自身は好きなように創造をコントロール できます。 この文章も含め書き込みの言葉の洗脳によって物質密度に誘導されます。 安堵感を持って響くとか、平和を思う、祈る、願うの類も反作用の罠。 祈りません「そのようになると」決め、そのイメージをします。 他力本願は、他に何々をして頂く、潜在的支配下を認める 罠。 ​ 無数に偏在することごとくとはひとつも残さず全て同時存在です。 段階的な、少しづつ、第三密度脱却云々は差別暗示の信じ込ませの裏罠。 ​ 自由を求める、という罠。元々自由であるのに、何故求めるのか。 ​ ​ 刈谷の臨死体験記憶の断片記述から​ 4/2012 2020s 01 OSDLM 2017 02 ARCHTYPE 03 ARMORY 2019 04 MIZUMA 2018 2010s 05 WOUNDED 06 MOTHER 07 AND HER 08 CHILDREN 1990s 09 WOUNDED MOTHER 06 PARAREL LANDSCAPE 07 EMPTINESS 08 CHALKBOARD SUTRA 1990s 09 SIGN OF THE TIMES SIGN OF THE TIMES B 10 IN MEMORY OF 1992 11 ENSBA, PARIS 12 HAKODATE MUSEUM 1990s 13 ISE ART FOUNDATION 14 IHARA LUDENS 15 ICA PHILADELPHIA 16 EXIT ART 1980s 17 MOMA PS 1 18 MOMA PS 1 19 GOWANUS MEMORIAL 20 GOWANUS MEMORIAL H SITE ​ PRESS ABOUT 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

  • Sutra | Hiroshi Kariya | New York

    H SITE ​ PRESS ABOUT 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 BIO 2022 THE NOW IS 是現在即記述 | PIGMENT | | 33 WORKS|三十三面経 | FACE SUTRA | 8"x8" | | ME INVENT WE | | PHOTOGRAPH | INSTALLATION RENDERING | 2021 | | TWIN CODE | OSDLM-R | | PHOTO+MULTI MEDIA | 24 Units | 133"x88" | 2019- | ABOUT →🇯🇵 →🇺🇸 | 双生記 | B4 FLIPPED | | WORK IN PROGRESS | INSTALATION RENDERING | 2019~ | →🇯🇵 →🇺🇸 | VOCABULARY | 顔語 | | PHOTOGRAPH | 1991-1 | INSTALATION RENDERING | 2021 | GirlTrappedInDigitalPassingThrough1 Multi Media Installation Rendering 2021 Sequence Photograph 1/8 48"x36" (122cmx92cm) Image Site: Wyth+N15-Bankers st, Bkln, New York GirlTrappedInDigitalPassingThrough2 Multi Media Installation Rendering 2021 Sequence Photograph 2/8 48"x36" (122cmx92cm) Image Site: Wyth+N15-Bankers st, Bkln, New York GirlTrappedInDigitalPassingThrough8 Multi Media Installation Rendering 2021 Sequence Photograph 8/8 48"x36" (122cmx92cm) Image Site: Wyth+N15-Bankers st, Bkln, New York GirlTrappedInDigitalPassingThrough1 Multi Media Installation Rendering 2021 Sequence Photograph 1/8 48"x36" (122cmx92cm) Image Site: Wyth+N15-Bankers st, Bkln, New York 1/8 | A GIRL TRAPPED IN DIGITAL | PASSING | | PHOTOGRAPH | MULTI MEDIA INSTALLATION RENDERING | 2021 | | PASS | FACE SUTRA | | PHOTOGRAPH | 20161718 | INSTALLATION RENDERING | 2020 | PASS① Multi Media Installation Rendering Series Photograph Site: Kent Ave+South 3rd, Bklyn, New York PASS② Multi Media Installation Rendering Series Photograph Site: Kent Ave+South 3rd, Bklyn, New York PASS⑤ Multi Media Installation Rendering Series Photograph Site: Kent Ave+South 3rd, Bklyn, New York PASS① Multi Media Installation Rendering Series Photograph Site: Kent Ave+South 3rd, Bklyn, New York 1/5 | PASS | FACE SUTRA | 2003-11 | | SERIES PHOTOGRAPH | 2020 | 吾が遠縁の親族達の仮面図書館 Library of My Distant Relatives PHOTO: KEI MIYAJIMA | WOUNDED MOTHER AND HER CHILDREN | | FOSSIL CHALK | TDW INSTALLATION | TOKYO | 2011 | | PASS | FACE SUTRA | 顔経 | | DIGITAL PHOTOGRAPH | 4'x6' | 2020 | ABOUT | MERRY-GO-ROUND | OF TIMES | Video Image Rendering HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 2020 | MERRY-GO-ROUND | THE NEW YORK TIMES | Video Image Rendering HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ​ 2011 ​ "Wounded Mother And Her Children" Fossil Chalks, The Evidence of Makings, Sign of The Times 3112011: mixed media, plaster with shredded printed news articles, twitter articles, chicken bones, studio debris, plaster debris, left over articles, cloths of writings, paper scrap, scrap metal, plastics, nails, screws, pencil leads, job site debris, plastics, rasin, gold leaf, silicon... Tokyo Designer's Week Art Fair, 2011 Mizuma Art Gallery, Tokyo HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ​ 1980's ​ ​ ​ 1990's ​ ​ ​ 2000's ​ ​ 2000's ​ Art Tower Mito Web Project: In Memory of 911, 2001" Seed Sutra with 4 Line Poem. 2001-2003. HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ​ 1994 ​ Art Tower Mito Web Project: In Memory of 911, 2001" Seed Sutra with 4 Line Poem. 2001-2003. HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More STOP THE BLOODY MURDER | INSTALLATION | ART TOWER MITO | 1994 | PHOTO: TAKU SAIKI ​ 1990's ​ CLASS ROOM WITH MAZE Art Tower Mito, 1994 Y. Kurabayashi, Article S. Watanabe, Article PHOTO: TAKU SAIKI CLASSROOM WITH MAZE 33 Desk Top + Chairs, Survey scope plumb + Others ​ 1990's ​ Trash And Debris -ICA Philadelphia 1990 , "Sutra", Phil. PA -Ihara Ludens Gallery 1992 , New York -Sparks Gallery II 1993 "In Memory of 1992" -Mizuma Art Gallery 1994 "Sign of The Times" -Mizuma Art Gallery 1995 "Chalkboard Sutra" -Mizuma Art Gallery 1996 "Emptiness" -Mizuma Art Gallery 1997 "Parallel Chalkboard" HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ​ 1980's ​ ​ Kariya's ongoing "the now is" writings on various objects by random picks; 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 millions of others. Exit Art , 1989, ICA Phil , 1990. HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 1980's Exit Art+Others ​ ​ ​ 1970's ​ Kariya's 1st New York FLUXUS 359 Canal Studio: former studio of Nam Jun Paik, Ay-O, the place FLUXUS was performed. Dick Higgins studio was downstairs. More HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More | SELF PORTRAIT OF MY ALTER EGO | FACE SUTRA | PHOTOGRAPH INSTALLTION RENDERING, 2020 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More NY Times Article Cut-Off, 2018 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Cut off articles, NYT Magazine p83, 10/1999 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 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 Laurie Anderson Larry Rivers David Hammons Elizabeth Payton Lorna Simpson Erté John Currin Elaine de Kooning Peter Halley Futura 2000 Nan Goldin Robert De Niro Sir Ann Hamilton Private Collection | CANADA HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More cut-off articles, NYT Magazine p84, 10/1999 Seed Surface Wrap: from left: 426, 425, 424, 423, 422, 421, NYT A12, 2/25/2007 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More CATTELAN STORY BANNER, 1/50 sequence, 4/23/2017, NYT ST6, Vinyl Banner "Sutra Disc. Acrylic on plywood, Exit Art , 1989 ICA Phil , 1990 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More PARALLEL LANDSCAPE, 1997 We are the chalk, We are the eraser, We are the chalkboard HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ​ 1970's HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ​ 1980's HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ROCKET ATTACKS ATTACKS ... IN AFGAN VILLAGE Photo banner, 4'x8', Image:B1 NYTimes 10/24/2001 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Rocket Attacks Attacks In Afghan Village Photo banner | 4'x8' | Installation Process Mizuma Art Gallery | Tokyo | 2018 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 6 Video Seed Sutra 7 Press The Armory Show 2019 3 1990's ICA Philadelphia 5 Blog BraBraBra 4 2000's ENSBA, Paris 2 1970-80 MOMA PS1 1 About Hiroshi Kariya Mizuma Art Gallery | 2018 | Rendering 5 Blog BraBraBra HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More OSDLM (TWIN CODE) → Hiroshi Kariya, born in Japan in 1948, since arriving in the United States in 1977, has continued to practice and study archetypes in the exploration and verification of Self-Archaeological Art forms and production dialectics. The archetype of his expression is the traces of his own work, thoughts, corrections, and so on. The above photographic work "TWIN CODE" is a work that overlaps the existing image with the "face of time" as archetype evidence of the photographic record exhibited at the NY Armory Show in 2019. The new surface that was added has a back watermark reference act that reveals the footprints of the previous work due to the photographic record. The work traces are simulated to the excavation activity of the archaeological site to demonstrate the intentional comparison. They present considerations of holographic virtual reality on the surface where the 'current sutra' description presents 'non-temporality' remains. Kariya, who is a twin, fuses the Kotodama of Soseiki:Genesis with the Kotodama of Soseiki:Twin Code and explains it. He says that on one side of the visible, there is a vast amount of dynamic presence that is invisible and immortal. The image is a mirror, bilaterally symmetrical, the left side shows the image of the right side, the front side shows the existence of the reverse side, and the whole image implies a mental image. Imaginary images are non-spatio-temporal, non-physical, and ever-changing, frequencies. He himself continues to write the three letters "THE" is now. 'NOW' is the present, 'IS' is the face, 'THE' is all beings, including human beings, who call and distinguish between good and evil. Existence does not disappear or appear, there is only the experience of consciousness that chooses. In other words, writing down the three characters is to continue to explain everything else, and if you choose to do so, it is a creative act that continues endlessly. If he chooses, let him experience the immortality of materiality that evokes the dialectics of his production. He said that he was painting a realist painting of that landscape. Kariya uses images from the news media and refers to his own work as “Journal Painting" or “Journal Sculpture." It is used as evidence of social activity, a reference to materiality to time code. They also serve as his own archaeological evidence, proof of the source's roots. (→Return to image) "What is the purpose of your work?" First of all, it is a message to myself every morning. Enjoy life. Compassion for oneself, who is a physical being, and compassion for other alter ego at the same time. Meditating each meditating one. It is to keep learning as if. ​ (OSDLM; One Stroke Dotted Line Mizuma, M also stands for Mind, Mirror, Miracle, Mother, Myriad, Maze, and More.) The series of works is currently in progress. The images are literally endless. A mirror reflects what your mind sees. There, the physical self does not see the void, but sees the impermanence of "that" present moment. First, "consciousness" sensed the sound within the source, the amniotic fluid of the mother. Emanated from there, drifted there with the twins, and suddenly sobbed into the eternal and immortal physical present. And Kotodama: frequencies lived "from water" in that way “breath”. *This art form is experimented with in his solo exhibition "Sutra" at ICA Philadelphia, 1990, on Ilya Kabakov's wall. → Sozansky articles HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 双生記 (TWIN CODE) 刈谷博、1948年日本生まれは、1977年アメリカに到着以来、*自己考古学芸術の形式や制作弁証法の開拓と検証作業にその元型を実践し学び続ける。自らの生きる作業の痕跡、思考、修正などの記録を表現の元型とする。 上記写真作品「TWIN CODE=双生記」は、2019年NYアーモリーショウで展示された写真記録を元型証拠とした既存イメージに「時の顔」をオーバーラッピングした作品である。上乗せした新表面は写真記録に因って前作の足跡を露呈する裏透かし参照行為が残されている。作業痕跡を考古学サイトの掘削活動に擬似化し意図的比較を明示する。それらは「非時間性」を提示する「是現在経」記述が残存する表面に、ホログラフィックな仮想現実の考察を提示する。 刈谷は双生児で創世記に双生記の言霊を融合させ解説する。見える一面の片方には見えることのない不滅の膨大な量のダイナミックな存在があるのだと発言します。 画像は鏡、左右対称、左側が右側の画像を、表面が裏側の存在を示し、画像全体が心象を暗示する。心象とは非時空間、非物質性、変化存在しつづける波動:frequenciesに因って元々にある自由勝手なイメージが気ままに飛び込んできます。 自身は絶えることなく『「the」 is now』 三文字を記述し続けます。「それ」は今現在である、「それ」は顔である、「それ」は善と悪を呼称し区別する人間を含む全存在である。存在は、消えるとか現れるということではなく、選択する意識の体験のみが存在するのだ、と。 つまり、三文字を書き記すことが、それ以外のありとあらゆることを説明しつづけることであり、選ぶとするなら、その作業引き起こしが延々とつづく制作行為である。選ぶとするなら、その制作の弁証法を引き起こす物質性の不滅を体験させる。自分はその風景描写のリアリズム絵画を描いているのだ、と。 刈谷は、ニュース媒体のイメージを使用し、自身の作品を「報道絵画」または「報道彫刻」と呼称する。それは、社会活動の証拠、時間コードへの物質性への参照に用いられる。それらは同時に、自身の考古学的な証拠、ソースのルートを裏付けする証拠として機能する。 (→画像に戻る) ​ 作品の目的は何?それは先ず、毎朝の自己へのメッセージである。生の営みを楽しむこと。物性存在である己を慈しみ、同時分身の他を慈しむこと。ひとつを瞑想しているそれぞれを瞑想すること。かのように学びつづけることである。 (OSDLM;One Piece Dotted Line Mizuma、 M は, Mind=心, Mirror=鏡, Miracle=奇跡, Mother=母, Myriad=無数, Maze=驚, and More.… 一連の作品は現在進行形である。イメージは文字通り終わりがない。鏡は自分の心が見るものを反映する。そこに物性自己は虚空を見るに至らず、無常の「その」今現在を見る。先ず「意識」は源という母の羊水の内で音を感じた。そこより発し、そこに双子の妹と共に漂い、突如、永遠の不滅の物性現在に嗚咽した。そして言霊:frequenciesは「水から」そうやって「生き」をした。 *この自己考古学芸術形式はICA Philadelphiaにおける個展「スートラ」1990年にて、イリヤ・カバコフの壁で検証実験された。→ソザンスキー表論文 H SITE ​ PRESS ABOUT 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 BIO 2022 THE NOW IS 是現在即記述

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