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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 | Text

    TOP 2021 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 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 HITORIGOTO |INDEX| 2022 2021 2020 2019 2018 ​ 2018 2014 2014E 2012J 2012E ​ 1998 1996 1995 1994 1993 1990 1989 1982 1981 1977 2021🔺 2020🔺 2020 About Our Trap 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) . Work Is About Trap Hiroshi Kariya, OSDLM2017, Assemblage of Seed Sutra, Mizuma and Kipps, New York, 2020 2019🔺 2019 Hidden Trap 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 on the surface. 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. Hiroshi Kariya “OSDLM 2018 Her Children SR” The Armory Show, New York by Mizuma Art Gallery 2019 TRe-Member What Was Your Project Plan Page 164 or 641 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 😳Dream is reality, Reality is illusion/programmed 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?、誰が決め、誰が従う? ​ この世に無駄なモノ、役立たず、間違ったモノ、偶然など存在しない。 チリ・ゴミと呼ばれるモノは、価値・名誉・崇高などと名指されるものと同等である、無くてはならない存在の不可欠の機能として存在する。 ​ 人間の皮を被ったモノが人間を管理する目的で呼ぶ垢や糞、悪や醜として仮面をつけ登場する、勝手な法を勝手に操作し勝手に取り締まる輩が存在する。 ​ 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。であるから、ハイヤーセルフ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、問われるものとして、それらを仮想にもたらしたのである。何故か? ​ 不要なモノであるなら存在しない。不要なものと区別する概念が捏造である。 ​ 完全の定義には、不完全、、未完成、未知、試行錯誤、それらの途上、やり直しも含まれる。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のだー何が目的か? ​ 私たちは光である。光に写される影では無い。人間の思考錯誤、答えを求める狭間の葛藤「生」が動くのは光自身の動きである。そこに混じり込み光を遮る影の投影ではない。不可思議の方向とは光の運動なのだ。 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。その運動を記述が物象化し一括りに「在」が指さされるのである。 ​ この現世間の「存在価値のないと呼ばれる」モノの心に触れさせようとするのだ。微かな気がかり、チリや埃、痕跡に、一瞬の心得を促すのである。 通りすがる矢印、迷い、修正、ごまかし、殴り消しなどの痕が故意に裏方に残してある。透明の狭間から、その微かな波音を覗いて頂きたいから。 2016 🔺 ​ 存在するのは体験だけである。それ以外のことは論理であり、合理的、数学的、科学的と命名された仮想イリュージョンである。体験がこの第三密度の世界、物質世界の特徴で、それには言辞;言葉でイリュージョンを引き起こすその上の密度に進む暗示が潜んでいる。その暗示があって物質性が理解される矛盾にイリュージョン性が存在するのである。 そして、「信じなさい。そうすれば体験するだろう」ではなく「体験しなさい。そうすればあなたは信じるだろう」という言辞が導かれ、そこに不滅の運動が起こるのである。その生が体験の運動に帰依するのである。 だから、私は身体の直感を得るためと縁があって空手を始めた。第三密度の経験は身体に根ざすからだ。身体の動き運動の元は呼吸から始まる。心臓が最初に起こり、それが脳の働きの元となる。脳は先ず心臓に起こるのである。集中は呼吸への働きかけから始まる。呼吸は生命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同時の系である。 呼吸はその肉体の状況を構成し同時に反映する。科学的な反映は、体の大きさ、形体、周りとの関係という状況、状態を反映し、その体系を、その状況に応じ変幻自在に形成する。 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、経験値に応じて変化、進化する。動きを止めると、その逆が起こり退化する。 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。走っていると呼吸は変わり、呼吸が変われば思考もその状況に対応し変わる。走る人間の思考は走ることに関連した思考に反映する。 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すのである。早く走ると、呼吸は変化する。呼吸が変わるとは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である。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のである。実際は決める一瞬前に相手は倒れている速度である。認識では遅すぎる知覚である。 ​ 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。これはドリルの仮想を実際化するイメージの方法である。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、放っておいても、それは常に起こっているのである。それを意識に置くか、その意識に集中することができるか、どれだけの長さでそれが叶うか、なのである。私は種子経の記述に百11万粒、一粒一粒にそれをやっている。容易く、意味もなく、作る必要もなく、ただ、あるがままに集中できるかということ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。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のである。思考のいい加減さを肉体の使い方で変えられるのである。そして怒り、または恐れの消え去った場所を探せばいい。そのでどこが何だったか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。人間の思考のいい加減を観察すればいいのだ。 と、それはそれでいい。そしてそれ以外にも無限の方法が見つかってくるのだ。 ​ 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。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。観察する時という空を、その合間に置く運動が体験の間に置くのが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。そこで彼は、あなたの呼吸のパターンや呼吸のリズムを見つめる。あなたが特定の呼吸のリズムをとっているとしたら、そのためにあなた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。という仮想は無尽蔵にわき起こってくる。 ​ 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かもしれないが、マインド(表面的心)にある種の気分を抱えている時、あなた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、あなたは寛(くつろ)いでいられるだろうか? それは不可能だ。怒っていれば、あなたの姿勢は変わる。眠たければあなたの姿勢は変わる。 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 刈谷博のスタジオ、三階に住んでいた。ナムジュンパイクの昔のスタジオで、ディック・ヒギンズが2階に、FLUXUS発祥の地。 ​ 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 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 Installation: The prison is a world, The prison is a nation, The prison is a border, The prison is politics, The prison is a religion, The prison is the hierarchy, The prison is a system, The prison is a program, The prison is a classroom, The prison is (Y)our out side of (Y)our body, 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 生物の登場は酵素状態の結果にすぎない。微生物の存在というのは、物質的実存でなく「状態」であると見ている。人間社会も同じ、無数の人が確率的に存在するが、その本質は状態にすぎず、個的存在は結果にすぎない。人間の弁証法という見方である。それは光粒子のホログラフィックな映像仮想である。 ​ 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実体化して来ている。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であると観察する。その視点を全てに応用すれば世界は住み良くなるだろう。 ​ 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。あなたの本質は「霊」で「不生不滅」死ぬことができない命である。物質も変化、形、性質は変わるが滅することはない。ニコラ・テスラも同じように言っている。目で見える世界は生の仮想である。 ​ 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。今の苦悩は、それに気づいて乗り越えるために、本の束の間、自らが背景や配属に至る詳細なプログラムを作り自らの主に提出し承諾を得て経験している。結果はまた別のこと、それらを含めて生を楽しむ体験をしている。 ​ 2012 0102 1017 あなたの中にある部分です 主人とか神とか彼がマスターだということも、自分の内にある部分である。 自分自身の内のマスターの部分を思い出させようとしている。鏡となって見せてあげようとしている。簡単にわかったら面白くなく、物質経験の意味がないので、あえて、わからなく、色々試行錯誤の結果、極めにおいて、わかるかもしれない程の、自が全ての仮想物質を演じる幻の大作映画なのである。 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る、その人は宇宙を創ったと言っている。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だ。いま、と書いたのは、実は、いまこれを読むときのことで、時間は仕掛けられた妄想のたまもの、グリッドためのでっち上げ。大きな実物大の、実際の謎めいた数式に埋められた映画のセット構造物と同じである。 ​ 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、確固とした現実だという刻印によって反応する電気パルスがDNAに仕掛けられ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。 ​ 2012 0101 1014「自分を忘れ思い出す」 「自分を忘れ思い出して下さい」あなたは観念以上の存在なんです。あなたの思ったことは、存在するのです。真に、芯に、心に、信に決めることで、すべてが可能なのです。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。ですが、気付くことを決めることで変えられます。意識に根気よく指令を出すのです。 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。 #在 ​ 2012 0101 1010 あなたが「出来事なのです」 あなたが「究極の具現者なのです。」バシャールという人物も、彼の言葉も、それを聞くあなたも、全てあなたの芯から発しているのです。日本語は素晴らしい道具です。心は神とも読めます。これらはあなたが発しているのです ​ Above work from selected Twitter account @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不滅のごとく強固だからである。 ​ 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こと、心すこと、簡単なことだと決めること。 ​ 「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。写経の目的が、そのひとつで、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、という無意識設定に言葉に思いを込め表す。その自身の行為を観察するという高位で意に図るのである。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。 安堵感を持って響く、平和を思う、祈る、願うの類も疑惑が背後潜作用の罠である。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。 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。他力本願を祈りに込め、他に願うことが罠である。自分の意を他に委ねるという波動である。心に結する。そのように決め、そのように為し、そのように生る。 他力本願とは、他に何々をして頂く、潜在的に支配下である意を表す 罠です。 ​ 「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、あえてこれをいうことにより、記憶意識に働きかける言辞である。 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、ことに気付くべきである。それを願うとは、自らが、そうであると不自由であると顕在意識で決めつけていることをあえて認める、不自由であると決めつけている行為である。言辞の用法による洗脳は、凄まじく巧みである。学校教育の、社会構造の、メディアのテレビの言葉の用い方ひとつに大きな洗脳の目的が隠されている。 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ことである。 ​ 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。その認識を忘れただけである、と信じ込んでいることである。だから、それが真実である、と認識しているのである。この言辞が秘密である。この言辞を知るものが、誰でもが、創造主なのである。聖者の一人とは、実はあなたなのです。何か?疑問は?あなたにはこの秘密がお分かりになられますか? ​ ​ 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 24 GOWANUS MEMORIAL 17 MOMA PS 1 18 MOMA PS 1 19 GOWANUS MEMORIAL 20 GOWANUS MEMORIAL H SITE ​ PRESS 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 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 1980s 1979 OTHERS HITORIGOTO | PIGMENT | | 33 WORKS|三十三面経 | FACE SUTRA | 8"x8" | | SURFACE SUTRA | 表面経 | | PHOTOGRAPH | INSTALLATION RENDERING | 2021 | | TELEPATHY | ひとりごと | | PHOTOGRAPH | 12'x8' | WORK IN PROGRESS | 2022 | | VOCABULARY | 1999-1 | | PHOTOGRAPH | MULTI-MEDIA 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 | TRAPPED IN 2016~18 | | PHOTOGRAPH | MULTI MEDIA 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 | TRAPPED IN 2003-11 | | PHOTOGRAPH | MULTI MEDIA INSTALLATION RENDERING | 2020 | 吾が遠縁の親族達の仮面図書館 Library of My Distant Relatives PHOTO: KEI MIYAJIMA | SIGN OF THE TIMES | | FOSSIL CHALK | TDW INSTALLATION | TOKYO | 2011 | | PASS | FACE SPECIMEN 2016~18 | | MULTI MEDIA INSTALLATION RENDERING | 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 "ARCHETYPE" Mizuma+Kips, NY 3/4-4/5/20, COVID Interrupted The Show 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 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 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 a bits by bits in his physical way to examins 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. It does not portray the existence, but becomes existence itself, through experiences of the trace record of living. Its existence immediately appears in the description of living footnotes. The surface of the work is a group of letters that "explain" "its" and "existence", or traces of continuous signs. In the exhibition, the illusion between the spatial arrangement and the work related to the space-time area will be verified. However, even a brand new trace is immediately assimilated into "existence", and finally all systems, chains, and relationships become a landscape of explanation. However, Kariya continues to transform and verify the writing of the three letters "the is now" on the object, saying, "No, not." This 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. They are recorded and exhibited as "matters that show the references", of "the sign of the time", and "is" as physical illusion. ​ 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) ​ His work is constant ONGOING "thread". All is from the same source, but with different forms. His early works were exhibited in his solo exhibition at Exit Art, NY in 1989, and following solo exhibition "SUTRA" at ICA Philadelphia, in 1990. “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 "Sound Show, for the special project: Meditation" 1979. Exit Art "Sutra" , 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing" , 1990, "Donaiyanen" ENSBA, Paris, 1998, lectures and exhibitions at other organizations, museums, galleries. HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 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「その」「存在」「説明」を三位一体の構造で意図する。地球上に於いて「それ」を名指すにはまず言葉を存在させ、その言葉の存在を「説明」せねばならない。次にその説明を存在させねばならない。名指すこと、現象、名称、これらの構造を含むすべての系が、一つの意より発し、意識に及び、存在認識に至るのである。名指すもの、説明、それらの存在、三つが一つの有機体を形成し三位一体 で表出するプログラムの意図、糸を明らかにするのである。 ​ 刈谷は「その」「存在」「説明」を「the、now、is」三文字に配列し、存在を意、行識、記録によって検証する観察芸術を発案する。存在を描き写すのではなく、存在自身の内で痕跡実録体験に本性を観察しつづけるのである。それは、存在=自身=世界との同時に実現し、任意選択する微妙のひとつひとつの戒名を記録する自らの行為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するはずだからである。人間そして全ては元より発している、つまりこの現在が元なのである。 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。展示では時空領域に関係する空間配列と作品との物証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の書き込みに下ろし全ての本性同時一体のイメージ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終わることがない形相を提示する。 ​ 記述はオブジェとオブジェに連なり、繰り返され「是現在」の系でありつづける。記述は時、場、空間のグリッドを氷解させ、言語情報の「元型、関係、説明、時刻」などの無化を働きかける道具となるのである。 三文字と並行し、同時に「現在」と名指される時の刻が収集される;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仮想や化身、それら言語情報の根拠の検証を提示するのである…(もっと) ​ 吾々は現在進行形の「スレッド」である。初期作品は、1989年Exit Art, NYにて、翌1990年にICAフィラデルフィア に於ける個展「SUTRA」で展示された。 「経」サンスクリット語;いと、糸、スレッド、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。 H SITE ​ PRESS 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

  • 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 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 HITORIGOTO INDEX | Descended order | 2020 2019 2018 2012e 2012j 1998 1996 1995 1994 1993 ​ 1990 1989 1982 1981 1977 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 Installation: The prison is a world, The prison is a nation, The prison is a border, The prison is politics, The prison is a religion, The prison is the hierarchy, The prison is a system, The prison is a program, The prison is a classroom, The prison is (Y)our out side of (Y)our body, 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 24 GOWANUS MEMORIAL 17 MOMA PS 1 18 MOMA PS 1 19 GOWANUS MEMORIAL 20 GOWANUS MEMORIAL H SITE ​ PRESS 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

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