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  • Law and Order / His

    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. 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 Kopyrusha 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

  • 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 |

    SITE ​ PRESS 2000s 2020 ARCHETYPE 2018 O.KOPYRUSHA 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 BROKEN RED CLOSS WALL Re-Assembled Used Sheet Rock After Hidetoshi Nagasawa Exhibition:12'x30'x2" Art Tower Mito, Ibaraki, Japan, 1994 STOP THE BLOODY MURDER Paint on canvas, hunged behind the wall. 10'x12' Art Tower Mito, 1994 Masked Library of My Distant Relatives Weather proofed,UV protected photo banner, plexiglass Assembled of 45 Units:12'x30'x2" Project rendering installation at Wyth, Bklyn, NY HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More 私の遠い親族たちの仮面図書館 Installation Rendering, his own private gallery MASKED LIBRARY OF MY DISTANT RELATIVES Face Mask Installation | Rendering | 2020 | for his own private gallery "Carousel Mask of The Times " Rendering video image projection 2000's HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 2020 "Carousel Process of The Times " Rendering hologram image projection HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 2011 ​ " Wounded Mother And Her Children " Fossil Chalk series: mixed media, plaster with shredded printed news article titles, twitter articles, room dust, studio debris, plaster debris, left over articles, cloths of writings, paper scrap, scrap metal, plastics, nails, screws, pencil leads, job site debris, and/or plastics, rasin, silicon... Tokyo Designer's Week Art Fair, 2011 presented by Mizuma Art Gallery, Tokyo HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 1980's ​ ​ ​ 2000's ​ ​ 2000's ​ ​ 1990'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 VIDEO 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 VIDEO PROJECT BLOG Search Results More ​ 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 VIDEO PROJECT BLOG Search Results More ​ 1980's ​ ​ Kariya's painting is his "is the now" sutra 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 VIDEO PROJECT BLOG Search Results More 1980's Exit Art+Others ​ ​ ​ 1970's ​ Kariya's 1st New York FLUXUS studio: 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 VIDEO PROJECT BLOG Search Results More ​ 2020 Mizuma+Kips, NY Installation "Archetype" 3/4-4/5/20, COVID-19 interrupted The Show. John Baldesari Ed Ruscha Howardena Pindell Vito Acconci David Wajnarowvicz Mike & Doug Starn Damien Hirst Claes Oldenburg Joan Mitchell Andy Warhol Annette Lemieux Rosemarie Trockel ​ 2019 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More FACE OFF, Evidence, NY Times Article 2018 ​ 2020 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More FACE OFF, EVIDENCE, NY Times Magazine Article p 83, 10/1999 ​ 2020 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More FACE OFF, EVIDENCE, NY Times Magazine Article p 84, 10/1999 ​ 2020 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More "Face Sutra", work in progress: from left: 426, 425, 424, 423, 422, 421, NYT A12, 2/25/2007 ​ 2020 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 2020 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More CATTELAN BANNER,1/50 sequence, 4/23/2017, NYT ST6, Vinyl Banner ICA Phil , 1990 "Sutra Disc. Acrylic on plywood, Exit Art , 1989 ​ 1989 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 1997 Parallel Landscape, 1997 We are the chalk, We are the eraser, We are the chalkboard HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 1970's HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 1970's HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ​ 1980's HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More Rocket Attacks Attacks In Afghan Village Photo banner, 4'x8', Image:B1 NYTimes 10/24/2001 Mizuma Art Gallery, 2018 HOME 2000's 1990's 1980's PRESS VIDEO 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 VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More 6 Video Seed Sutra 7 More? 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 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ABOUT "What do you say you know about it other than your sensory experience?" Pavlovsky enlightens. Even a career of more than 40 years in the United States is in short supply, Hiroshi Kariya uses the form of contemporary art for play. And he continues to independently study and verifies the illusions of archetype theory, semiotics, and ontology. Kariya begins with the intention of this material world with the intention of the three letters "the now is". Because of its "intention", it is an act of continuing to verify where and where the origin is under this current symbol. Existence is shown in a phenomenon glimpsed by the explanation of one's own consciousness. Its essence is nothing more than an explanation of the physical world under the sign agreement. However, if it is hypothesized that "appearance does not depart from the essence", the intention of three letters in the reality of the essence, and the act of coding and writing on the object should be the same as the manifestation of the essence. Because all beings are happening at the same time. Since the illusion on the surface of the work is, it is the product of the play of quality realization, which is the form of act practice that continues to verify the support, structure, and archetype of existence. ​ The three letters are the intention to indicate the existence, and the intention is the thread. It is a complementary structure in which each vocabulary explains each other. It is the movement, the element that creates the concept and constitutes the Trinity, where the existence of the work continues to be the index of the existence source type. It's elusive and unexplainable. ​ ① The / Indication (Intention, Act, Change) ② Now / Present (Figure, Way, Focus) ③ Is / Being (Physicality, Presence, Density) Kariya intends this "the now is" to meet the object. It depends on the object and is repeated to produce the "the now is" code, thread, the sutra. When this act is described or written, it is arranged to explain the relationship between time, place, space, density, and is exhibited as the "time" of the production. ​ The three letters are the code = tool that connects everything. Concentrate on the fact that events, objects, people, their fabrications, make-ups, lies, deceptions, values, standards, systems, all of which are included at the same time. It's elusive, unexplainable, so keep writing.. ​ The work is always ongoing "sutra", primal stage of the work 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, public institutions, museums, galleries. HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ABOUT 「あなたの感覚の経験以外の方法で、あなたはそのことについて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。在米40年以上のキャリアでさえ不足である。刈谷博は現代美術の形式を遊びに用いる。そして、独自に元型論、記号論、存在論のイリュージョンを研究し検証しつづける。 ​ 刈谷は、この物質世界の認識を三文字「the now is」を意図することで始める。その「意図」ので何処を、元を、この現在の記号下に検証しつづける行為である。存在は己自身の意識の説明によって垣間見られる現象に示される。その本質は記号合意の下の物象世界の説明の域に止まるにしか過ぎない。だが、「現れとは本質から離れるものではない」と仮想するならば是の現実に三文字を意図すること、オブジェへの符号化記述行為もその本質の現れとして同質となるはずである。全存在は同時に起こっているからである。 作品の表面上のイリュージョンとは、であるから、支持体と構造と存在の元型を検証しつづける行為実践の形相、である、質具現化の遊ぶの産物と生るのである。 ​ 三文字は存在を指し示す意図であり、意図とは糸である。語彙それぞれがそれぞれを説明し合う補完の構造である。その運動であり、概念を生成し、作品存在が存在元型のインデックスでありつづける三位一体を構成するエレメントである。それは、とらえどころがない、説明ができない。 ​ ①The/ 是(い、意,為、異、) ②Now/ 現(と、図、途、止、) ③Is/ 在(ある、有る、或る、) ​ 刈谷は、オブジェとの出逢いにこの「the now is」を意図する。それはオブジェによって異なり、繰り返され「the now is」の糸、つまり経を生成する。この行為が記述される場合は時、場、空間との関係を説明するものとして配列され制作の「時の刻」として展示される。 三文字は、すべてをつなぐ符号=道具である。イベント、オブジェクト、人々、その人が造った仮装も、嘘も、偽り、騙しも、価値、基準、システム、それら一切含まれ込みに至るまでの全てが同時に存在するということに集中する。それは、とらえどころがない、説明できない、だから記述しつづける。 仕事は現在進行形の「お経」である。初期作品は、1989年Exit Art, NYにて、翌年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、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、ギャラリーなどで講演、展示。 SITE ​ PRESS 2000s 2020 ARCHETYPE 2018 O.KOPYRUSHA 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 | 2011 | Tokyo Designers Week

    TOP FossilChalk STORY ものがたり GallerySpec ABOUT 作家概略 CONTACT SITE ​ PRESS 2000s 2020 ARCHETYPE 2018 O.KOPYRUSHA 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 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More Wounded Mother and Her Children Story The installation represents a prolonged act of meditation on immortality. ​ All pieces of the work, including scattered dust, have places to fit for returning to its origin. ​ "Don't just dump it, go and pick it up" says my grandpa. "There is nothing unnecessary, nor useless for all fragments". They could re-assembled, it's a nature that resume to the original system again. ​ In the same manner, every one in "Creation" is a piece of one built into the function. ​ "Trash is God, Dust is Buddha", so is "God is Trash, Buddha is Dust". There should be no unnecessary, nor no fragments with no place to go... says my grandpa. There must be a place where everything fits in a large puzzle. And anything is a piece of Gods, a large puzzle that keeps becoming an essential part of the mechanism. ​ As I was a child and still is, we've been told to such a manner from my grandfather. This work was born inspired by the catastrophe, large scale of earthquake hit, then Tsunami attacked in Tohoku, Japan, on March 11, 2011. As this work dedicated for the people who were shed home, people of deceased or missing, and with my missing relatives, friends. ​ This becomes a message to all spirit that they never varnished, yet they are one of those essential part of the systems, they exist in different form in this universe. (related article by W.Sozanski) ​ Images adopted here is from my hometown Kamaishi, first shocking image jumped in NHK broadcast video of Tsunami wave, and photo scene from my sis's destroyed home after Tsunami. →🇯🇵 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More 祈りの壁「傷ついた母とその子供たち」 ものがたり →🇺🇸 作品の全ての破片は散り散りになった粉塵も含め、もとに戻るための収まるべき場所 がある。 ​ 「役立たない破片、不要な破片などというものは何ひとつない」 「捨てたのか?、拾って来い」 「 合せ直せば 、元通りになる」 ​ 「創造」の中にあるすべてのひとつひとつは、機能に組み込まれた「ひとつ」「ひとつ」の破片である。その「ひとつ」はまた「創造」の全ての所以を備えつゞけている(それを思い出せば)。 ​ 「 瓦礫も神、塵も仏」 言い換えれば、 「神も瓦礫、仏も塵」。 不要な破片などないし、行き場所の無い、所以がない破片というのは何一つとてない。( 関連掲載記事:W. ソザンスキー) すべての断片/片割れは、 大きなパズルに収まる場所を備えている。 ​ それ らが存在から消えてしまうということ は決してない。 如何なものも、形は変わることはあるだろうが大きな神仏の一片、仕組みの「ひとつ」だ、と幼少の耳の片隅に祖父の声が時々音を立てる。 ​ この作品は、2011年3月11日東北に起こった大地震、大津波によって家を流され、亡くなられた、又は行方知れずになられた方々や、私の親戚、友人たちの霊からの縁があって生まれた。 彼らは姿を変え時を変え存在している、と訴えているのである。 ​ その日の早朝、突然、飛び込んできた驚きの映像は、釜石のチリ地震津波以来からの常設されていたカメラがとらえた「NHK緊急ニュース」であった。怒涛の音量で破壊され逆流する家々、粉々に砕かれ分散し逆流に上る 建物、船、車、電信柱、家具、それらは私の故郷の打ちのめされている光景であった。 ​ このページに登場する掲載イメージは、津波によって破壊された残骸が語る妹が住む家の記録写真、その一部である。 HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More IMG_1011 IMG_1010 IMG_1009 IMG_1008 IMG_1007 IMG_1006 IMG_1005 IMG_1004 IMG_1003v Show More HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ABOUT ARTIST →🇯🇵 Hiroshi Kariya, born in Japan, moved to the United States in 1977. He is a sculpture and painter based in New York. In Japan, he is involved in international conference work that acts on behalf of the UNESCO International Population Conference. He considers international affairs in general and the basics of communication. He begins to pioneer a form of artistic practice that explores the archetypes of all the problems of information. His work develops a form of simultaneous meditation of "self, encounter with materials, all beings". Kariya's art is based on the image of "Ito", Thread or the Sanskrit word "Sutra". The word "ito" has a hint to assume the other character in Kotodama (sound language) and also indicates that the whole work is ongoing. Also, a thread, a string that combines books. Or ciphers, sacred codes or measurement lines, associations, original traces, etc. ​ "Ito" is also an intention. It can be divided into "intent" and "figure". The world view is hidden in the mechanism of Japanese itself. In other words, the world is a development that is interpreted in that way, that it should not be limited, and that there is a future ahead. Meaning is an interpretation of what is made by humans, what is based on consensus of meaning, and which is meaningless from the beginning. Then, when you ask what the origin is, it is also a hint that the word "archetype" can be read as "beginning". The paradox for understanding the word asking for the origin is endless. Kariya's "ito" thread = sutra is composed of three words, for example, "the now is". Now, the world exists at the same time. This act and consciousness are simultaneous. Declare that they all exist at the same time. Declaring is consciousness, verbalization, and action. Includes events, objects, people, pieces, universes, concepts, thoughts, hesitations, trash, everything. The three letters "the now is" are written, which is the consciousness that "everything is at the same time". That consciousness, world, and description are realized at the same time. The three letters "the now is" are written for the substances and objects that meet arbitrarily, and the inevitable given name is given. It is a sign of coexistence in the world. They are categorized and preserved by time, place, reference number, etc. ​ Kariya has exhibited early at the MOMA PS1 "Sound Show, special project: Meditation" 1979. Exit Art "Sutra", 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing" , 1990, then follows various institutions, museums and galleries. Mizuma Art Gallery, Tokyo HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More ABOUT →🇺🇸 日本で生まれた刈谷博は、1977年に渡米。ニューヨークを拠点とする彫刻、絵画作家。日本に於いてはユネスコ国際人口会議などを代理運営する国際会議業務に携わる。国際時事一般、コミュニケーションに関する基本を考察。情報という諸問題すべての元型を探る芸術実践形式を開拓し始めます。作品は「己自身、素材との出会い、すべての存在」を同時瞑想する形式が展開されて行きます。 刈谷の芸術は、「いと」又はサンスクリット語「スートラ」のイメージに基づいています。「いと」という語は言霊で当て字を想定するヒントが内在され作品全体が現在進行形である意も示しています 。 また、糸をイメージすれば本を合冊するとじ紐です。または暗号、神聖なコードまたは測定線、関連、元をたどれなど。 「いと」は意図とも。「意」「図」にも分けられます。日本語そのものの仕組みに世界観が秘そんでいます。つまり、世界は、そのようにも解釈される、限ってはいけない、先のその先がある、という意味につゞくという展開です。 意味は、人間が作ったもの、意味の合意に基づく物、元より意味はないないという解釈です。では、その元とは何だと尋ねると「元」という文字が「はじまり」と読めることもヒントです。元を尋ねるという言葉の理解の為のパラドックスとは寿限無なのです。 刈谷の「いと」糸=経は、例えば「the now is」という三つの言葉で構成されます。このいま、世界は同時に存在します。この行為も意識も同時です。この同時に全て存在すると宣言します。宣言するとは意識すること、言葉にすること、行為することです。イベント、オブジェクト、人、小片、宇宙、概念、思い、迷い、ゴミ、一切を含みます。 ​ 「あらゆるものはいま同時である」という意識「the now is」三文字が記述されます。その意識、世界、記述が同時に実現します。任意に巡り会う物質・オブジェは三文字「the now is」が記述され必然の戒名が与えられます。それは世界同時存在の符号です。それらは時、所、整理番号などで分類、保存され、時を得て作品として展示されます。 刈谷は、早期1979年にMOMA PS1「サウンドショー、特別プロジェクト:瞑想」展。1990年に「スートラ」ひとつが全てに、全てが一つに展 ICA Philadelphia "Sutra: One thing in everything: everything in one thing", 1990,。以後は数多くの美術館やギャラリーにて展示。 SITE ​ PRESS 2000s 2020 ARCHETYPE 2018 O.KOPYRUSHA 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

  • Copy of Project1 | hiroshi kariya

    Top of Page Flower of Life, Installation (8 x 64 x 64 feet) HOME 2000's 1990's 1980's PRESS VIDEO PROJECT BLOG Search Results More

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