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北小路隆志「1996年経」刈谷博個展、ミヅマアートギャラリー、美術手帖,1997年7月, T. Kitakoji, "1996 Sutra", BT 7/97, Mizuma Art Gallery, Tokyo, Japan Top of Page 北小路 CONTACT KITAKOJI KITAKOJI 1996 Sutra By Takashi Kitakoji Review on Hiroshi Kariya "1996 Sutra" Exhibition BT7/97 Page 152, 1997 at Mizuma Art Gallery, Tokyo 　It was an outlyingly muggy day. An unpleasant sweat that blows out some time still even if it is shaken by the subway or it walks in the town. In short, the climate as if to deprive people of their willingness to work and the work of their thoughts. 　In the space where Hiroshi Kariya's new work is exhibited, the stesath of tokyo on that day spreads with even more greatness and fills the surroundings. Cement and white chalk are scattered on the floor, and blackboards assembled with waste wood are placed on bandaged easel or joined like arms protruding from walls, abandoning the concept of "size", which is probably the standard regardless of the object. 　Notice the fact that, unlike previous works, the blackboard stops claiming façade reminiscent of epitaphs and tablets. It is possible to interrupt the repetition of the impression that a certain religious solemnity envelops the exhibition space by arranging the corpse in front of the blackboard which is tied to the front. And to imagine. 　If a person with no preliminary knowledge visits the gallery in the afternoon on a differently muggy day, 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) 　Artist who lives a place called Brooklyn. Accumulation and dispersion of a large amount of information and stories from around the world. From there, to launch a ruin as a "description of the world" and to commemorate something lost. And us. We face the "Description of the world" by Kariya's hand while memorizing the sultry heat with our skin. 　"Art preserves what it is, and it is the only thing in the world that is preserved" ...Gilles Deleuze & Pierre-Félix Guattari Takashi Kitakoji on Hiroshi Kariya "1996 Sutra" Exhibition Bijutu Techo 7/97 Page 152 at Mizuma Art Gallery, Tokyo, 1997 →🇯🇵 H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 KITAOJI BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 北小路 1996年経 北小路隆志 、美術評論家 ミヅマアートギャラリー 月刊美術手帳1997年7月号、BT7/97 152頁 　 　異様に蒸し暑い日だった。 地下鉄に揺られようが、街を歩こうが、いつしかじっとりと吹き出す不快な汗。 要するに人から労働の意欲や思考の働きを剥奪するかのような気候。 　刈谷博の新作を展示する空間に於いて、その日の東京を息苦しさがさらに凄みを増しながら広がり、周囲を満たしていく。 床にはセメントや白いチョークが散乱し、廃材で組み立てられた黒板が、対象を問わず、というか、多分基準となるような「大きさ」の概念を放棄したまま、包帯を巻いたイーゼル上に置かれたり、壁から突き出た腕のように接合されている。 　以前の作品と異なり、黒板が墓碑銘や位牌を思わせる正面性の主張を止めている事実に注目しよう。 　正面を向いた位牌めいた黒板の前に死体らしきが並べられ、ある宗教的な荘厳さが展示空間を包み込み…、といった感想の反復を一旦中断しなければならない。 　そして想像すること。 　予備知識を持たない人物がその異様に蒸し暑い日の昼下がりに画廊を訪れたとして、黒板上をいつものように覆う「the now is」の文字を判読できはしないし、おそらく黒板の裏側に貼られた1996年の新聞記事の切り抜き ーボスニアやルワンダなどでの惨事ーを曖昧な根拠に、それらが未知の外国語であると理解するはずだ。 　では、この黒板は一体なぜここに出現しているのか? 今、自分が目にしているのは、サラエボの廃墟の断片なのだろうか? まさか！さすがに彼はそれを打ち消すだろう。 　そして、再びそこに置かれた廃墟を前に言葉を失う。 　「What is here is one thing: that is everything..... 　nothing exists apart from that」(quote: H. Kariya) 　作家におけるブルックリンと言う場所。世界から届くおびただしい情報や物語の集積と分散。そこから「世界の記述」としての廃墟を立ち上げ、失われた何かを追悼すること。 　そして私たち。 　蒸し暑さを肌で記憶しながら刈谷の手による「世界の記述」に向かい合う私たち…...。 　「芸術とは何かを保存するものであり、しかも保存されるこの世で唯一のものである」(ドゥールーズ&ガタリ) 北小路隆志 「1996年経」 ミヅマアートギャラリー 美術手帖 BT7/97 152頁 →🇺🇸 GO TO SITE> THIS 94 KURABAYASHI 96 MIYATAKE 18 MIYATAKE 94 KURABAYASHI 90 SOZANSKI 97 KITAKOJI 97 KITAKOJI 96 MIYATAKE 89 SOZANSKI 90 SOZANSKI PRESS▽OTHERS 98 エリックメジル 小俣出美 96 宮武三紀 96 宮武三紀 94 倉林靖 90 ソザンスキー 渡部誠一 CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 KITAOJI BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

Miyatake Miki, 宮武三紀「空っぽ」展評論、Japan Times, "Empty" Exhibition, 1996, Mizuma Art Gallery, Hiroshi Kariya, 刈谷博、ミヅマアートギャラリー Top of Page 宮武三紀 Miyatake/eng CONTACT Miyatake/eng Miki Miyatake/1996/eng →🇯🇵 Planting the seed of an idea in the here and now By Miki Miyatake Nishizawa on Hiroshi Kariya’s “Empty”exhibition at Mizuma Art Gallery, Tokyo The Japan Times/ Saturday, May 11, 1996/ page 15 “The now is the now is the now is the now is the...” Hiroshi Kariya continues to write this phrase daily. Handwritten with a calligraphy brush, it looks like a Buddhist sutra. In Buddhist thought, the idea of “the now” signifies that living beings should live each single moment of “now”. A string of “now and now and now...” constitutes the whole history of the universe. Kariya writes “the now is sutra” on both sides of a dried bean seed, going through about 100 beans every night before going to bed. He keeps the finished beans in plastic bags with notes of his daily thoughts. For him, it is similar to meditation, a practice of being present in the now. For Kariya, creating art is not separate from his dailychores. Taking each breath could be an exercise of art, and living itself is art. Three days before the opening day of his current exhibition at Mizuma Art Gallery in Aoyama, Tokyo, he started writing in chalk “the now is the now is the...” in spiral from the center of the concrete floor. The periphery of the circle is lined with pieces of limestone from Michigan bearing the words “the now is...” written in a spiral of tiny letters. The writing, which starts from the center of one side of a stone, makes its way clockwise, coiling to the other side of the stone. The beginning and the end of the writing are connected by Kariya piercing a hole in the middle of the stone. The idea that “there is no beginning and no end” signifies eternity, while at the same time it has a limit as one object. Going clockwise follows Buddhist custom-a pilgrimage circuit of Buddhist temples in one area is supposed to be done clockwise. The loop without the end seems to be symbolic of reincarnation and the universe where everything is rotating in transformational stages repeating life and death. “The now is sutra” is engraved on a thick candle placed at the north point of the circle of the text on the floor as well as on glass bowl containing water placed at the south end. Fire melts the candle and water evaporates from the bowl, and “this transformation fuses with the space at present,” says Kariya. The whole piece visually presents the universe in miniature with an incantation-like spiral text in the middle. Kariya’s practice of writing on dried beans in January and February 1992 is recorded in two booklets entitled “One day one piece one grasp seed sutra.” On each page, a fourline stanza written by Kariya is printed with the number of beans he scribbled that day along with date and place. Based in Brooklyn, N.Y., his poem was first in English: One piece of Brahma Day One Piece of ‘the now is’ One Piece of 8,640,000,000 years One Grasp of 104 pieces (January 18, 1992, Studio, N.Y.) His interest and concern expressed in his poems shifted from the conflicts in various parts of the world to a more personal one as he traveled to his hometown to see his mother, ill with cancer. The poems he wrote during his stay in Japan frequently contain kanji characters meaning “pain, mother, me, breathe, dream, explain, morning, afraid.” Kariya’s love for his mother and his suffering over her pain permeate the poems. His writing the seed sutra every night for her recovery and also a means to soothe his feelings. What Kariya does looks simple, but the visual and spiritual impact of his writings are striking. The magical power of incantation is present, and his ritualistic manner of creation is convincing. Barefoot, with his hair tied in a pony tail and writing “the now is sutra” on the floor, Kariya may remind us of a lordless samurai living with a Zen priest’s peaceful state of mind. He appears undisturbed by the overwhelming pace of the outer world. It is interesting to see Kariya’s Japanese identity, his gracious attitude and power preserved even after living in New York for close to 20 years. He is very much in touch with himself, and it is obvious that his art work comes from the core of his being. As long as he lives, he will use his hands and mark the path of his life. By Miki Miyatake on Hiroshi Kariya’s “Empty” exhibition at Mizuma Art Gallery (J), Tokyo The Japan Times/ Saturday, May 11, 1996/ page 15 ©1996-2021 Hiroshi Kariya & Miki Miyatake Nishizawa H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 宮武三紀 宮武三紀/1996 →🇺🇸 この在・いま現在という種子を蒔く 東京・ミヅマアートギャラリーでの刈谷博「空」展について 宮武三紀／ジャパンタイムズ／1996年5月11日土曜日／15ページ 「The now is the now is the now is the now is ......」 　注) 刈谷は日本語では、いま、を「在」と提示し、全て同時に持続し循環しつづける一つを指します。 「The now is the now is the now is the now is......」」 　刈谷博はこのフレーズを毎日書き続けています。それは書道の筆で手書きされた仏典のようです。 　 　仏教思想で、「いま」という考えには、生きものが「いま」一瞬一瞬を生きつづけていることを意味します。 「いま、いま、そしていま...」という文字列は、宇宙の歴史の全てを集約します。 　刈谷は、乾いた豆種子の両面に「The now is 経」を記述し、毎晩、作家の一握り分の、その数およそ100粒の豆への記述を経て就寝します。彼は完成した豆種子をビニール袋に入れ、日々の印象をメモします。彼にとって、それは終わることのない瞑想に存在しつづけるような行為です。刈谷にとって、アートを作るとは彼の日常茶飯事と切り離されるものではなく。息を吸うことも芸術の習いとなり、生きること自体が芸術と化すのです。 　東京・青山のミヅマアートギャラリーでの現在の展覧会の初日の3日前から、彼はコンクリートの床の中央から「The now is...」とチョークで螺旋状に書き始めます。記述の円周の外円には、ミシガン州の石灰石の円が並び取り囲みます。それぞれの石の周りは小さな文字の渦巻きが「The now is...」という言葉の連続が同じように記述されています。石の片側の中心から始まる書き込みは、時計回りに進み、石の反対側に巻かれ終わります。執筆の始まりと終わりは、刈谷が真ん中に穴を開けることによって数珠のイメージに接続するのです。 　数珠の石。「始まりも終わりもない」という作品は永遠を直感させ、同時に一つの対象：物としての限界をも示すのです。時計回りにと云うことは仏教の習慣に従っているのでしょうかーある地域の仏教寺院の巡礼回路は時計回りに行われるとか。 　終わりのない円環は、生まれ変わりのすべてが同時存在する宇宙の象徴のようです。ーそれは生と死を繰り返す変革の段階で回転しています。 　「The now is 経」は、床上チョークの記述円の北位に配置された厚目のろうそくと、南位に配置された水が入ったガラス容器にも刻まれています。 火はろうそくを溶かし、容器の水は蒸発し、「これらの変化は同時に現在の空間と融合します」と刈谷は言います。作品全体が、真ん中に呪文のようなスパイラルテキストを備えたミニチュア宇宙を視覚的に表現しているのです。 　1992年1、2月分の刈谷の種子作品に付随した文章は「一日一句一握種子経」と題された2冊の小冊子に記録されています。各ページには、刈谷の記述による四行詩が続き番号で印刷されています。彼はその一日毎に種子経への走り書きを日付と場所に添付します。 　ニューヨーク、ブルックリンを拠点とする彼の詩は、英語で始まります。 ------------------------------------------ 　一粒のブラウマの日々 　一粒の「The now is」 　一粒の86億4000万年 　一握の104粒 　（1992年1月18日、スタジオ、ニューヨーク） ------------------------------------------ 　彼の詩に表現された自身が集中する関心ごとは、癌に患っている母親に会う目的で故郷に旅行したときには、世界のさまざまな地域での紛争の情報などより身近な個人的なものに移行します。 　彼が日本滞在中に書いた詩には、「痛み、母、私、呼吸、夢、説明、朝、恐れ」を意味する漢字がよく含まれています。刈谷の母親への愛と彼女の痛みに対する彼の苦しみが詩に浸透します。彼は母の回復祈願と自身の気持ちを和らげる手段も含め毎晩種子経を書きつづけます。刈谷の仕事はシンプルに見えますが、彼の著作の視覚的および精神的な影響は印象的です。呪文の魔法の力が存在を果たし、儀式的な創造方法が説得力を持って迫ってくるのです。 　素足で、髪をポニーテールに結び、床に「The now is 経」を書っている刈谷は禅僧の安らかな心の状態で生きる主なき武士を彷彿させるかもしれません。外界の如何なる圧倒的な流れの渦にも侵されることがないかのように。 　ニューヨークに20年近く住んだ後も、刈谷の日本人のアイデンティティ、優雅な態度、威厳深さを見るのは興味深いことです。彼は彼の内なる自身とつながっていて彼の芸術作品がそこから発していることは明らかです。彼の存在の核心とは何なのであるか。彼が生きている限り、彼は自らの手によって自らとは、人とは、生とは、の道を示しつづけることでしょう。 刈谷博の「空」展覧会について宮武三紀 東京・ミヅマアートギャラリー ジャパンタイムズ/ 1996年5月11日土曜日/ 15頁 　注) 刈谷は日本語で、いま、を「在」と表記し、全て同時に持続し循環しつづける一つの生を示します。 ©1996-2021刈谷博＆宮武三紀 SITE 98 ERIC MEZIL OMATA IZUMI 96 MIYATAKE 95 A.M.WEAVER 94 KURABAYASHI 90 SOZANSKI 18 BURAKHMEDI 96 MIYATAKE 95 A.M.WEAVER 94 KURABAYASHI 90 SOZANSKI CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

Exhibition, 1995, ENSBA, Paris. We are the chalk: We are the eraser: We are the chalkboard. 3333 chalkboards, 54 erasers, 1111 fossil chalks, Gauze wrapped gate. Chalkboard Sutra, Dedicated to 1995 Kobe. TOP CHALKBOARD ERASERS Anchor 1 SPEC H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 ET MAINTENANT ! WE ARE THE CHALK, WE ARE THE ERASER, WE ARE THE CHALKBOARD, CHALKBOARD 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 ERASERS HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Anchor 1 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 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 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 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 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 WorkSpec SPEC Pulley twine and graffiti Pulley, twine, chalkboard and wall graffiti by the artist. École Nationale Supériure Des Beaux-Arts, Paris, 1998 Twine and graffiti Title of work graffiti drawing by the artist during the period of installation (50 feet high) École Nationale Supériure Des Beaux-Arts, Paris, 1998 Twine and graffiti Title of work graffiti drawing by the artist during the period of installation (50 feet high) École Nationale Supériure Des Beaux-Arts, Paris, 1998 Artist's graffiti 50 feet high wall Title of work graffiti drawing by the artist during the period of installation (50 feet high) École Nationale Supériure Des Beaux-Arts, Paris, 1998 Drooped chalkboard and geaffiti Hook, twine, chalkboard and wall graffiti by the artist. École Nationale Supériure Des Beaux-Arts, Paris, 1998 Drooped chalkboard and string Hook, twine, chalkboard and wall graffiti by the artist. École Nationale Supériure Des Beaux-Arts, Paris, 1998 Drooped chalkboard and string Hook, twine, chalkboard and wall graffiti by the artist. École Nationale Supériure Des Beaux-Arts, Paris, 1998 Chalkboard "Future" hunged with string Hook, twine, chalkboard "Future", and wall title writings by the artist. 50 feet high above. École Nationale Supériure Des Beaux-Arts, Paris, 1998 Eraser "Wounded City" Drooped eraser from the ceiling far high end. Eraser made of plaster, news title, torn cloth string. École Nationale Supériure Des Beaux-Arts, Paris, 1998 Show More H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

Hiroshi Kariya|刈谷博|Exhibition|SelectedBibliography|Text|評論文とテキストまとめ｜ TOP 2020 2019 2018 1998 1997 1996 1995 1994 1993 1990 1989 1981 1977 2010s 1990s 2012和文 1982 2020s 1979 2012Eng 1980s 2021 CONTACT INDEX | Descended order | 2020 2019 2018 2012e 2012j 1998 1996 1995 1994 1993 1990 1989 1982 1981 1977 H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT JUGEMUJUGEMU 寿限無寿限無 2021 2021🔺 ABOUT 　You exist But "how do you know that, other than your own sensory experience?" enlightens Pavlovsky. 　Kariya remains dumb. He decomposes "it", "existence", and "its explanation" into the intention of the trinity structure and arranges himself to practice and imply in the virtual image of this world. He presents a landscape that observes the process of the virtual reality of the trial-and-error of the self and the alter egos of the divided concept who experience "it" on this earth. 　Kariya arranges "that", "existence", and "explanation" into a trinity of "the, is, now", and presents an Observational Art that examines existence through intention, action, thought, awareness, and recording. Rather than depicting existence, it is an inner landscape painting that observes the virtual nature through its own tracing evidence experience. 　"The hearts of all beings in this world are one." All is One: One is All: All is Simultaneous: Realizing and changing at the same time. At the same time, the practice of recording the act of choosing that one subtlety at will. It is that called beginning, end, origin is an artificial concept. Introspect that thought. Nature resides and emerges simultaneously with self, with everything, and with experience. Everything with human beings are also the origin, and it is the beginning, the subtle, bits and pieces, and the "present" that enjoys action, practice, and error. 　 　The surface of the work is nothing more than a group of letters that "explain" "that" and "existence", or traces of a series of signs of the times. In the exhibition, the spatial arrangement, works, and illusions related to the space-time domain will be verified. Any trace on the wall is a title oracle of "existence", and it is nothing more than a landscape of all systems, chains, relationships, and explanations. Kariya continues to write down all the natures at the same time by writing three letters on the object, a series of mask arrangement acts "not this, not that". This practice began in 1977 when he moved to the United States. 　The description continues from object to object, and continues repeating "the" is now. The description is intended to unravel the grid of time, space, and place, and is a tool for observing the "archetype, relationship, explanation, and time" of linguistic information, and its scenery. Then he collects illusion of "now is what" matters: words, titles, objects, faces, symbols, marks, emblems, codes, all of which a constant state of influx..... (more) 　The work is constant ONGOING "thread" makings. All is from the same source, but with different aspect of life. His early works were exhibited in his solo show at Exit Art, NY in 1989, and following solo exhibition "SUTRA" at ICA Philadelphia, in 1990.
 It becomes the codex of following works. “Sutra” Sanskrit; code, thread, string, book binding string, or a scripture. Sacred code, line, measuring line, sequence, column, grid. Kariya has exhibited at the MOMA PS1 "Meditation" for the "Sound Show" special project, 1979. Exit Art "Sutra" 1989. ICA Philadelphia "Sutra: One thing in everything: everything in one thing" 1990, "Et Maintenant" ENSBA, Paris, 1998, lectures and exhibitions at sebral organizations, museums, galleries. (copied from 12/2021) ABOUT 　あなたは存在している。だが「自らの感覚の経験以外の方法で、あなたはそのことを如何に知っていると言うのか？」とパブロフスキーが啓発する。 　刈谷は黙す。そして「その、存在、説明」を三位一体構造の意図とし分解、現実世界の虚像を実践黙示する身体を配列する。物質世界で「それ」を体験する己と分断された分身達の錯誤の仮想現実経過を観察する風景を提示する。 　刈谷は「その、存在、説明」を「the、now、is」の 三位一体 に配列し、存在を意、想、行、識、記録により検証する観察芸術を提示する。存在を描き写すのではなく、自在の痕跡実録体験による仮想本性を観察する風景画である。 　この世界全存在の心はひとつである。全てはひとつである：ひとつが全てである：全ては同時である：同時に実現し変化している。そのひとつの微妙を任意選択する行為に戒名する、その記録実践は同時である。先ず、始終、元、存在など人工の概念とする。非思考を内観思考するのである。本性は己と全てと体験との同時に内在する。全てとは、だから人間であり、ゴミ、元、末、始まり微々妙々であり善悪、行為、実践、錯誤、至福の「是の現在」である。 　 　作品の表面は「その」「存在」を「説明」する文字群、または連続する時符の痕跡でしかない。展示に於いて時空領域に関係する空間配列、作品、物証とのイリュージョンが検証される。壁面では如何なる痕跡も「存在」の称号託宣であり、一切の系、連鎖、関係、説明の風景でしかない。 　　刈谷は「これではない、それではない」仮面配列行為の連続をオブジェへの三文字書き込みに下し全ての本性同時一体を自筆記録しつづける。修行は己の身体で行わなければならない。この実践は1977年渡米時より始まる。 　記述は事象物象に連なり、繰り返す「the is now」でありつづける。記述は時・空間、場のグリッド氷解を意図し、言語情報の「元型、関係、説明、時刻」などの図りごとを観察し笑い飛ばす道具であり、その風景である。 　三文字と並行し、同時に仮想「現在」を代弁する時の刻が追随される；言葉、題目、オブジェ、顔、シンボル、記号、称号、符号など流動変化途上の化身である社会言語情報の根拠、検証を提示する…　(もっと) 　作品は現在進行形の「スレッド」である。初期作品は、1989年Exit Art, NY、翌1990年にICAフィラデルフィア にて個展「SUTRA」で巡回展示された。 　「経」サンスクリット語； 意図、 いと、糸、紐、系、本、綴じ紐。 　　神聖な、コード、符号、暗号、測り定める線、数列、列。 　刈谷は渡米後「SOUND SHOW」MOMA PS1 、1979。「スートラ」EXIT ART, 1989。「スートラ」ICA Philadelphia, 1990。「どないやねん」展、 ENSBA, Paris, 1989, 他各諸団体、公共機関、美術館、画廊などで講演、展示。 (copied from 12/2021) 2020 2020🔺 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🔺 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🔺 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 🔺 2012Eng 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🔺 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 2012和文 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 1997 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 🔺 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 🔺 1995 A.M. Weaver “Hiroshi Kariya’s installation ‘No man is free who is not master of himself’ is a grand crescendo. His chalk board writings, collages and wrapped forms are crowded into a prison-like enclosure… Kariya’s construction attempts to engage the viewer by challenging the perception of prison; here the prison is the self, the mind, systems and world conditions...” A.M. Weaver , Painted Bride Art Center, catalog essay 1995 Hiroshi Kariya’s “No Man Is Free Who Is Not Master Of Himself” EPICTETUS is a grand crescendo. His chalk board writings, collages, and wrapped forms are crowded into a prison-like enclosure. (Kariya quote: this is a small scale of our 3D-physically-informed world, we are the prisoner) Each item, material and mark alludes to a complex matrix of events, activities, public and private and world conditions. No Man Is Free Who Is Not Master Of Himself is a continuum of a work created in 1993. Sign of the Times, Kariya’s installations evolve and flow like a river from one piece to another. An integral part of his process is to compile layer upon layer of data, building each project by expanding or editing depending on time and space. A. M. Weaver, Curator, Painted Bride Art Center, Philadelphia, 1995 1995 NO MAN IS FREE WHO IS NOT MASTER OF HIMSELF -EPICTETOS- Installation: 3 The prison is our world, 2 The prison is our nation, 1 The prison is our border, 0 The prison is our religion, 9 The prison is our hierarchy, 8 The prison is our system, 7 The prison is our program, 6 The prison is our classroom, 5 The prison is our choice, 4 The prison is our believe, 3 The prison is our thoughts, 2 The prison is our physicality, 1 The prison is our consciousness, “13 wrapped bodies lie on the floor inside the prison. Beneath them, the floor is covered with 1000 multisided, chalk writing covered chalkboards. They are individually chalk board is attached with collaged newspaper clippings of our social news articles, and or erased surface. Erasers and chalkboard are randomly placed.” *** *Large version of 4 installations was originally installed in 1994, at the Art Tower Mito, Ibaraki and Mizuma Art Gallery, Tokyo, Japan, under the title “Sign of the times”. Painted Bride Art Center, Philadelphia, Penn. USA Hiroshi Kariya, 1995, Catalog Essay 1995 Toshihiko Washio “Kariya is trying to capture ‘Time’ by means of his symbols which appear and disappear. Without their emergence, ‘Time’ exists only in an undisturbed limbo...However, if none exists, no sign appears..the meaning in his writing of “the now is” expands to an extraordinary dimension..” Toshihiko Washio , Art Journal, magazine, July 1995 Tsunaki Kuresawa “Chalkboard Sutra with combined element, chalkboard, chalk and eraser as one unit...as composition of our world...Each chalkboard is marked with writings or erasing of his ‘the now is sutra’. The phrase is an index which points to every moment of “now”… a meaning extends, at the same time, to the unascertained existence of eternity...” Tsunaki Kuresawa , monthly art magazine BT, Sept. 1995 Hideki Nakamura “Art as representation of today’s mental structure”, Hideki Nakamura, monthly art magazine BT, June 1995 “..by using discarded objects to rebuild‘Time’”, Monthly Gallery, magazine, June 1995 Tamaki Harada “the work is a healing art. His writing of ‘the now is the now is..’ strikes us very deeply to heart.” Monthly magazine CAZ, 6.27 1995 Taiji Yamaguchi “small chalkboards each the size of a magazine, similar to a memorial tablet,.. each chalkboard framed in gilt rests on its gilded chalk ledge..the surface layered with repetition of his ‘ the now is sutra’ writing and erasing.” Taiji Yamaguchi , Akahata newspaper, 6.23 1995 Toshihiko Washio “Striking at first, then a moment of serenity washed over me..He is performing a memorial service; producing a monument dedicated to every moment by infixing his sutra on the surface of the chalkboards...”, Toshihiko Washio, Kohmei newspaper, 6.23 1994 1994 🔺 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 🔺 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 🔺 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 🔺 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 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 🔺 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 🔺 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🔺 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” 2020s 01 OSDLM 2017 02 ARCHTYPE 03 ARMORY 2019 04 MIZUMA 2018 2020s 2010s 2010s 05 WOUNDED 06 MOTHER 07 AND HER 08 CHILDREN 1990s 09 WOUNDED MOTHER 06 PARAREL LANDSCAPE 07 EMPTINESS 08 CHALKBOARD SUTRA 1990s 1990s 09 SIGN OF THE TIMES SIGN OF THE TIMES B 10 IN MEMORY OF 1992 11 ENSBA, PARIS 12 HAKODATE MUSEUM 1990s 13 ISE ART FOUNDATION 14 IHARA LUDENS 15 ICA PHILADELPHIA 16 EXIT ART 1980s 17 MOMA PS 1 18 MOMA PS 1 19 GOWANUS MEMORIAL 20 GOWANUS MEMORIAL 1980s CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

Exhibition, 1994, Art Tower Mito, Ibaraki, Japan, Mito Annual '94, Open System. Seiichi Watanabe (curator) Ritsuko Taho, Cai Guo Qiang and Yukinori Yanagi, Sympojium, Curated by Yasushi Kurabayashi, Seiichi Watanabe TOP Anchor 1 BANDAGE GATE 100 WRAPS RedCrossWall STRETCHER RED CLOSS SAVE THE CHILDREN HOSPITAL KITS STRETCHER WITH PAINT MOTHER+SON BOSNIA WALL BOSNIA CHALKWALL BROKEN UN MISSISSIPPI TURK'S WALL PROTEST WALL CLASSROOM MAZE 33 DESKTOPS BOOKS OF 3 ARAFAT DARAI LAMA BARANCED ELEMENTS NO ENTRY WACO ROSARY MAKING WOMEN #68 国連 GALLERY CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 Anchor 1 Vulture And The Girl HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More BANDAGE GATE HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 100 WRAPS HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More RedCrossWall HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More STRETCHER HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More RED CLOSS HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More SAVE THE CHILDREN HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More HOSPITAL KITS HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More STRETCHER WITH PAINT 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 MOTHER+SON HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More BOSNIA WALL HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More BOSNIA CHALKWALL HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More BROKEN UN 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 MISSISSIPPI HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More TURK'S WALL 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 PROTEST WALL HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More CLASSROOM MAZE HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 33 DESKTOPS HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More BOOKS OF 3 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ARAFAT HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More DARAI LAMA HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More BARANCED ELEMENTS HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More NO ENTRY WACO 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 ROSARY MAKING WOMEN 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 #68 国連 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More GALLERY Vulture And The Girl The Girl: Bronze (made of bread) hanging from the ceiling with fishing wire. Vulture: Assembled of plaster, trash bag, bandage. Art Tower Mito 100 titled chalkboard: (killings, food...) situated on the floor. Art Tower Mito Vulture And The Girl e ceiling witThe Girl: made of bread hanging from thh fishing wire. Vulture: assembled of plaster, trash bag, bandage, hanging from the ceiling with fishing wire. 100 masonite chalkboards with news article collaged as titled Killings follows Food, are patterned on the floor. Vulture And The Girl The Girl: Bronze (made of bread) hanging from the ceiling with fishing wire. Vulture: Bronze (assembled of plaster, trash bag, bandage). 100 titled chalkboard: (killings, food...) situated on the floor. Art Tower Mito Vulture And The Girl Collaged NY Times news article on the reverse side of chalkboard, fishing wire connected to ceiling, situated puppet sticks. Vulture And The Girl The Girl: Bronze (made of bread) hanging from the ceiling with fishing wire. Vulture: Bronze (assembled of plaster, trash bag, bandage). 100 titled chalkboard: (killings, food...) situated on the floor. Art Tower Mito #595 MOSCOW Metal (Red Rose) on the Art Tower Mito Terrace, chalk writing #27 Honecker (refer to chalkboard work) After Performance: "100 Bouquet, Candles, Chalk Writings".1 minute mass to the work related to its own creation. Performance held by artist with audience. Demonstration of image adopted from the news article: Creation of the copy the image: holographic reality. an investigation of act with illusion. Hiroshi Kariya #27 Honecker Red Rose (Bronze) on the Art Tower Mito Terrace, chalk writing #27 Honecker (refer to chalkboard work) "100 Bouquet, Candles, Chalk Title Writings", 1 minute mass to the work. after the simulated performance held by artist with participants from the audience. The demonstration of image adopted from the news article: To create the copy of the image: an investigation of act with holographic reality as its own composition. H. Kariya Bandage Gate (Womb) Bandage Gate, dropped bandage, disinfection liquid, gauze, wood Broken Red Cross Wall Red paint, re-assembled wall materials, previously used by Hidetoshi Nagasawa exhibition. Show More CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

"Suta", One Thing in Everything: Everything in One Thing. The work is to ponder what all is "the now is" on the matter and all. Top of Page GALLERY PRIMAL WORK 3D-GALLERY CONTACT 1980's | PS 1 MOMA | | Exit Art | | Gowanus Monumental | PRIMAL WORK 3D-GALLERY 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 85~88BStudio1 85~88BStudio13 85~88BStudio3 85~88BStudio6 85~88BStudio7 85~88BStudio11 85~88BStudio10 85~88BStudio8 85~88BStudio5 Show More GALLERY CONTACT HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More

hiroshikariya.com has exhibited at the MOMA PS1 1979, "SUTRA" at Exit Art 1989, ICA Philadelphia 1990, Art Tower Mito 1994, ENSBA Paris 1998, and Armory 2019. H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT JUGEMUJUGEMU 寿限無寿限無 | FACE SUTRA | 顔経 | | FACE SUTRA｜顔経 | DOCUMENTS | 8"x8" | | ARTUS SUTRA | | MIXED MEDIA INSTALLATION RENDERING | 2021 | GO→TO→SITE TWIN CODE →🇯🇵 →🇺🇸 | TWIN CODE | | WORK IN PROGRESS RENDERING | B4Enlarged →🇯🇵 | 双生記 | 一筆点線描画 | →🇺🇸 | WORK IN PROGRESS | RENDERING | 2019~ | | FACE SUTRA | 顔種経 | | PHOTOGRAPH | 1991-1 | INSTALATION RENDERING | 2021 | | YUCCA VALLEY | PASS | | INSTALATION RENDERING | WORK IN PROGRESS | 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 | PASS | | WYTH+BANKER WALL MURAL RENDERING | 2021 | | PASS | WYTH | | 20161718 | WYTH MURAL 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 | | 2003-11 | KENT AVE MURAL RENDERING | 2020 | 吾が遠縁の親族達の仮面図書館 Library of My Distant Relatives PHOTO: KEI MIYAJIMA | 8000 YEARS OF SPRING | | FOSSIL CHALK | TDW INSTALLATION | TOKYO | 2011 | | FACE SUTRA LIBRARY 顔経図書館| | MULTI MEDIA INSTALLATION RENDERING | 2020 | ABOUT | MERRY-GO-ROUND | PASS | Video Pholograpy Rendering HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 2020's 2020 | MERRY-GO-ROUND | NYTCUTOUT | Video Image Rendering HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 2010's 2011 "Wounded Mother And Her Children" Making Fossil Chalks / The, Sign of The Times 3112011: mixed media, plaster with shredded news articles, chicken bones, studio debris, tone articles, memo paper, scrap metal, plastics, nails, screws, pencil leads, 24 karat gold leaf,... 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 2000's 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 ATM WEB 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 1990's CLASS ROOM WITH MAZE Art Tower Mito, 1994 Y. Kurabayashi, Article S. Watanabe, Article PHOTO: TAKU SAIKI CLASSROOM WITH MAZE ART TOWER MITO INSTALLATION 1990's 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 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 1970's 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 | FACE SUTRA COLLECTIONS | | MIXED MEDIA INSTALLATION RENDERING | 2020 | HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More | Time Cut-Off Evidence | PHOTOGRAPH | 2018 | HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Face Off, 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 Face-Off, NYT Magazine p84, 10/1999 Face Wraps: 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 Face Off, 1/50 sequence, 4/23/2017, NYT ST6, Vinyl Banner "Sutra Disc. Good Leaf+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 CHALKBOARD | 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 | Mizuma Art Gallery | Installation | 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 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 ABOUT OSDLM (TWIN CODE) →🇯🇵 　Hiroshi Kariya, born in Japan in 1948, has since moved to the United States in 1977* and has pioneered the art form of self-archaeology, turning the process of examining the archetypes of the concept of existence into works. Kariya presents a landscape of the concept of existence, the concepts that lead to existence, and the system that continues to explain them. On the surface, they appear to have been thrown away as mere traces. 　The photo, "TWIN CODE = Parallel Code,” is a work in which the "Face of Time" seed sutra is directly pasted onto the photographic record image of "OSDLM: Mother," which was exhibited at the 2019 NY Armory Show. The act of reference remains on the surface, revealing footprints before and after. The traces simulate an archaeological site excavation activity, concealing the illusion of intentional comparison. Is the world we see real or a holographic virtual reality? 　Kariya, who is a twin, duplicates the words of Genesis and Souseiki. He hints at the dynamic infinity of the immensity and subtlety of the false one and the unseen immortality. All physical properties on the surface are a repetition of self-created illusions where our beliefs are misplaced, and we continue to experience self-questioning. 　The image is a mirror, symmetrical, the left side is the right side, the front side is the back side, and the whole image invites you to imagine it. Mental images are non-spatiotemporal, non-physical, and ever-changing frequencies. The origin is here, the beginning becomes origin, and they are dancing and playing freely and no-ends. 　 Kariya continues to describe impermanence by using the alternating three-letter word "the" is now is the now is. “The” is the present moment. “The” is the face. “The” is the superficiality of human engravings, distinguishing between good and bad titles. Existence does not disappear and appear, it does not appear in a pretense that is always there, but rather it manifests itself in the “experience” that “consciousness” chooses, and it itself focuses on “the”. They occur and appear at the same time. 　In other words, writing down the three characters is to continue to explain everything else, and if you choose to do so, it is a creative act that continues endlessly. If he chooses, let him experience the immortality of materiality that evokes the dialectics of his production. He said that he was painting a realist painting of that landscape. 　Kariya uses images from the news media and refers to his own work as “News Painting" or “News Sculpture." It is used as evidence of social activity, a reference to materiality to time code. They also serve as his own archaeological evidence, proof of the source's roots. (→Return to image) 　"What is the purpose of your work?" It is a message to myself every morning. Enjoy life. Compassion for oneself, who is a physical being, and compassion for other alter ego at the same time. Meditating each meditating one. It is to keep learning as if. 　(OSDLM; One Stroke Dotted Line Mizuma, M also stands for Mind, Mirror, Miracle, Mother, Myriad, Maze, and More.) 　The series of works is currently in progress. The images are literally endless. A mirror reflects what our mind sees. There, the physical self does not see the void, but sees the impermanence of "that" present moment. 　*This art form is experimented with in his solo exhibition "Sutra" at ICA Philadelphia, 1990, on Ilya Kabakov's wall. → Sozansky articles HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 概要 双生記 (TWIN CODE) →🇺🇸 　刈谷博、1948年日本生まれは1977年渡米以来*自己考古学芸術の形式を開拓、存在概念の元型を考察する過程を作品化する。刈谷は存在概念と存在化に至る概念とそれらを説明し続ける系の風景を呈示する。表面はそれらが単なる痕跡として放り投げられた趣である。 　上の写真「TWIN CODE＝双生記」は、2019年NYアーモリーショウで展示された「OSDLM：母」写真記録画像上に「時の顔」種子経を上乗せした作品である。前後の足跡が露呈する参照行為が表面に残存している。痕跡は考古学サイト掘削活動に擬似し意図的比較のイリュージョン性が隠されている。吾々の見る世界は現実又はホログラフィックな仮想現実？を問う。 　双生児である作家は創世記と双生記の言霊をダブらせる。見せかけの片方と見えない不滅の膨大・微妙のダイナミックな無限性を暗示する。表面の一切の物性は信念が見違える自作自得の幻想の繰り返し、吾々は自問自答を経験しつづけているという風景である。 　画像は鏡、左右対称、左側が右の画像を、表面が裏側の存在を、画像全体が心象へ誘う。心象は非時空間、非物質性、変化存在しつづける。元も末、始りは終り、自由自在勝手奔放に躍り飛び交い遊んでいるという。 　 作家は無常を「the」 is now is the now is三文字交互連続を記述しつづける。「それ」は今現在である「それ」は顔である「それ」は善悪呼称区別人間刻込の表面性である。存在は消え現れず常に在る見せかけに「意識」が選びとる「体験」に存在を現し自身が「the」に目を凝らす。それは同時に起こり一時的に現れ消える。 　三文字を書き記す行為は、外側のありとあらゆることの説明の系で閲覧も及ばず、存在概念を脱ぎ、集中の内側へ向かう。瞑想滅入に制作弁証法の波動とともに物性不滅を感受する。無意識、無存在、無空転リアリズムの連動を活き至福に翅て飛び融合の渦に清々するのである。 　刈谷は、ニュース媒体のイメージを使用し作品を「報道絵画」または「報道彫刻」と呼ぶ。俗社会に向けた情報社会の証拠、時間コードという物質性の参照に用いられる範例である。同時に、制作上の考古学的な証拠、ソース根拠裏付出典索引の機能を果たす。 （→画像に戻る） 　行の目的は、毎朝の改め祈り。生の営み苦楽悦び、物性存在の己を慈しみ、同時分身の他を慈しむ。瞑想するそれぞれひとつに瞑想する。ついには忘れ、また忘れ、更に忘れ、時に思い出し、また次に行けるように。 　（OSDLM；One Stroke Dotted Line Mizuma、 M は, Mizuma Art Gallery, Mind＝心, Mirror＝鏡, Miracle＝奇跡, Mother＝母, Myriad＝無数, Maze＝驚, and More) 　　*この自己考古学芸術形式はICA Philadelphiaにおける個展「スートラ」1990年にて、イリヤ・カバコフの壁で検証実験された。→ソザンスキー表論文 CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT JUGEMUJUGEMU 寿限無寿限無

倉林靖、水戸アニュアル「開放系」展エッセイ 刈谷博「時のしるし」水戸芸術館, Art Tower Mito, 1994 Hiroshi Kariya "Sign of The Times" Yasushi Kurabayashi, Article Top of Page Kurabayashi97Kariya 倉林靖97刈谷：人間は死なない 倉林靖94 Kurabayashi94ATM Kurabayashi94ATM H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 a Y asushi K urabayashi / 1994 　Hiroshi Kariya 　Hiroshi Kariya's solo exhibition, "In Memory of 1992", was simply striking. The exhibit spaces were found on the first and third floors. On the first floor was "18 Wraps". Eighteen bodies made of trash bag, transparent plastic sheet, canvas, paint cloth, and cardboard, filled with discarded object, and plaster debris with photo trash are lay there. The bodies wrapped with string and attached to them was a number of small blackboards on which English text was roughly chalked. One naturally presumes that there must be some important messages for people and society. 　On the third floor is "415 Palestinians". Different sizes of blackboards with text occupy every wall. There are scandalous words like "killing", and pieces of newspapers are pasted on some of the boards. Many of them deal with murders, riots and wars. This sinful conduct seems to have been sealed inside the form of the text by the artist's intense power. The space is filled with sheer silence, but there seem to be countless unheard screams-scream of silence. These reflects the sinful activities that electrify the space. 　Hiroshi Kariya subtitles this exhibition "News Paintings Sculptures". Why is it news? He writes down phrases taken from newspapers and magazines. The words were conceived from the desire to convey the truth, so his works are 'news' paintings and sculptures. He wants to convey, in the form of art, the derp anger and sorrow that are felt somewhere in the world every day. 　The idea that underlies Kariya's works is truly unique and, in a sense, complex. "The theme of my work is writing (recording), its process and its image. The theme of this work is living (engraving), its process and its image." The act of writing (recording) refers to copying the sutras in Buddhism. He calls his work 'sutra'. "'Sutra' means in Sanskrit thread or string, and it means that are used to bind papers written with teaching of life." Copying the sutras is a memorial service for the dead and offering of prayer or wishes. While irs purpose is to pass on the sutra from generation to generation, it is more meaningful in making the mind of the copier and his surrounding environment more peaceful. That the conduct of copying is more important than the result of the copied text itself, seems contradictory to us. Here, writing is living and act becomes s prayer. 　Looking from the Buddhist world view, all the incidents in the world are closely related to each individual by fate. All things in nature and material are connected through chains of cause and effect. Any activity, including violence, wars, or atrocities are linked with individual desires. Everyone shares responsibility for all the events in the world. They should be regarded as the result of 'karma' and were generated by each individual's desire. I believe this is the world view, a view of life and ethics that does not exist in the West. Kariya offers his spiritual prayer to world events in this context. Behind this philosophy is Asian monism that goes beyond the dualism of matter and spirit, of us and them. In this world, individual 'spirit' and phenomena are inseparable. The world is based on the integration of time and space. However, in the world of matter, everything happens at this point in time. Kariya contributes "One Piece Lotus Sutra" as an expression of living here now. He has been keeping a journal ever since he moved to the U.S. in 1977. The sutra expands its limitless circles as it repeats: "the now is the now is the now is the now is the ..." 　Since 1977, he has been making various sutra pieces. Thy have different names according to materials that the sutras are written on. "Drifted Wood Sutra", "Tree Ring Sutra", "Stone Sutra", "Circling Sutra", "Memorial Service to Waste Sutra", "Seed Sutra", "The Prayer Sutra", "Breath Off On Sutra", etc, "Seed Sutra" for example, is a "sutra written on handful of beans once a day". 　Another of Kariya's sutras is "Blackboard Sutra", in which he writes down or cuts out phrases from newspapers and magazines and pastes them on blackboards. His work is created out of his daily routine rather than from a more deliberate intent. Literally, the action comes before the result. All the materials used in his works are waste, and used in new works after use, or used for different purposes. This expresses a cycle of 'material' or 'life' between the material world and the non-material world, and death and resurrection. At the same time, the waste placed in the exhibit space is literally 'dead' in the present material world, and shows that today's 'death' creates a horrible scene. 　Kariya's work stands at the point where various phenomena generated in the 'present' world are expressed through matter and words. In Memory of 1992", the eighteen bodies are labelled Somali, Somalia, 3 Turks, Temple, Country Called Kurdistan, Russia is Russia, Angola, El Salvador, Cambodia, Wraps, Bosnia, Homeless, Radiation, Wasting Away, Asia AIDS, Mother. "Mother" represents Kariya's mother, who passed away that year, and his personal experience with 'death'. This work shows the 'death' that takes place in the world. (A switched-on TV near his mother is a reference to daily continuity, from today to tomorrow ...) Each text is a quote from a newspaper article about human bodies. "3 Turks" was conceived after he read an article about three Turks killed by Neo Nazis. (The following year discovered that this was false, made up events) 　His solo exhibition at the Institute of Contemporary Art (ICA) Philadelphia in 1990 was about the circulation of substances that use waste, and showed that time is both eternal and only exists now. He utilized the waste generated from Ilya Kabakov's solo exhibition, which was previously at the same site. It was a typical installation, one that implemented the idea of the circulation of substances. The wall that was installed for Kabakov was torn down, and Kariya reused the wood and the plaster board. When tearing it down, Kariya drew crisscross lines on the wall and wrote text and numbers in each block. He reinstalled the wall in big chunks, and laid the boards side by side according to size. Moreover, eight hundred small plaster pieces were numbered and stamped, then ICA sold them for 1 person limited $1 each with only current $1 bill only. The profits were used to cover the cost of Kabakov's wall materials. 　The following installation was created next to "Re-Member (Kabakov's Wall)" by reusing the Kabakov's wall. In "Spring of 8,000 Years, Autumn of 8,000 Years", pieces of wood from the waste were decoatively arranged in six horizontal rows, and a number of scrolls spread to various lengths were placed on the floor. ("Is the now..." sutra is written on each wooden piece and scroll. The sutras on the scrolls were written while the artist was on the way to wash paints off the brushes he used for writing sutra on the wooden pieces.) 　The various sutra pieces, including 'Drifted Wood Sutra' and 'Tree Ring Sutra' were written on drifted wood and tree slabs. Another sutra text started from the center of a round rock and spiraled back to the center of the reverse side. A hole pierced the center of the rock to emphasize the flow. Other sutras were written on everything from small containers like ink bottles, light bulbs, postcards, and bones. Also displayed in circles were one hundred small pieces of limestone, each covered with sutra, and 'Seed Sutra', a hundred handfuls of about one hundred beans covered with sutra, top and bottom. 　One characteristic of Kariya's work is its air of magic and ritual. Characters that through their undulating fitness and obsession almost look like Arabic script, are possessed with the magic that ideographs can have. Objects found in daily life, once imbued with writing, seem to go beyond the 'material' dimension and possess a special feeling of both materiality and non-materiality. 　His way of placing materials in a room with a clear plan seems to follow the rituals of various ethnic groups, including native Americans. The placement of each object is based on Kariya's intentions. In trying to describe all the meanings, one realizes that Kariya's works are so vast that they can be captured only with an enormous amount of explanation. But only Kariya himself is to be loaded with the meaning of all his actions. Kariya's work is an action complete in itself with its own complete meaning, so in that sense it may tear down the basic assertion of western aesthetics, presentation of an expression and its receipt. Kariya's art suggests a new possibility for art, in which specific meaning or expression is not only delivered to a recipient, but the existence of the work and viewer's act of receiving the work as it is, make the art come into being. 　The installation at Mito is basically an extension of his past activities but further expanded with greater expressivity. The installation consists of various elements which will be called "Gate of Bandage and Gauze", "Frag of Bandaids", "Wall of the World", "Wall of Red Cross", "Stretcher", "Hundred Body Wraps", "Flower, Candle and Chalk Titles", "collapsed Girl and Vulture Waiting", "Wall of Bosnia", "Wall of UN", "Wall of Sand Bags", "Window of Turks", "Wall of Protest", "Class Room with Labyrinth", "Desk and Chair Under Repair", "Wall of Graffiti". There will also be blackboards with various writings, bodies wrapped in cloth, bloody gauze with some bandaids, images of stretcher and Red Cross mark, plates covered with written protests, sticks, cloths and sandbags, images of empty warehouses in the UN's peace keeping operations and messages of mourning expressed with flowers and chalk text. Viewers will surely be impressed by these layers of objects and images. 　The final room of the exhibition is called "Classroom with Labyrinth", with desks and chairs placed in a maze pattern to obstruct one's way. This room is also striking. There are blackboards covered with newspaper clippings that bear words like "religion", "environmental law", "nation", "ethnicity", "race", politics", city water", "education", "food" and "poverty". The desk drawers contain Time, Life, the National Geographic, the New York Times, Asashi Shimbun, a world Atlas, social science and natural science books, and books on religion. In one of the desks is a switched-on flashlight that lights used batteries. The four walls are covered with graffiti in various languages. There is a landscape tripod-scope with a telescope placed near the entrance, through which one can see the pasted newspaper cutout on the blackboards. It reads 'future'. 　Kariya's works do not present a world situation that is looked at 'objectively'. Instead he strives to grasp the world as a whole, including his existence. This would bring about a new viewpoint, one that is not found in the art works of the West. This kind of viewpoint, I believe, will be important in building the future world. Kariya's works present a consistent perspective of the 'future', which we all have to face sooner or later. Quiet but assertive, his works have a rare quality that shakes us to the roots of our being. 　The most typical example of sharing problems is Kariya's work. He believes that any world event is connected him by karma. It is Asian monism of matter and spirit that is imbedded in his work instead of the Western dualism of subject and object. Yasushi Kurabayashi 1994, Catalog Essay "Open System" Art Tower Mito, page 67, 68, 69 →🇯🇵 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More a Y asushi K urabayashi / 1997 Trip artite Unity of "the now is" Catalog essay by Yasushi Kurabayashi Humans don't die. This is the first statement in artist Hiroshi Kariya's text entitled “The now is” or "Present" in his solo exhibition at Mizuma Art Gallery in 1994. I am thoroughly attracted to his conclusions. The statement reflects the artist's life and the condensed experiences of his thought and prayer in which his works have been woven. Today one is not supposed to interpret an artist's work with a knowledge of his or her personal life. Times have changed since we had "tragic painter" Van Gogh and "cursed painter" Gauguin. The creators' attitude of tapping into their private lives for sources of their works, such as the "I story" that was popular in Japan around Taisho and early Showa periods (1910s--1930s), is now rejected. The sentimental attitude of reading stories and dramas into one's work certainly has been overcome. At the same time, the more highly philosophical idea of recognizing the inseparability be- tween an artist's life and his/her creative activities is neglected. While it is true that a work of art exists inde- pendently at the moment of completion, the creation itself is clearly generated from the artist's creative conduct which is impacted by his/her daily life and thought, bodily makeup and general existence in this world. Ignoring this inseparability and only looking at the works causes a big obstacle in interpreting the artworks of certain kinds of artists. Hiroshi Kariya would be one of such artists. Shocked by the images of illustrated hell shown to him by his grandmother when he was small, Kariya has been intrigued by a poisonous fear of the idea of death. I won't go into the details of how this fear penetrated every waking moment of his later life, but his experiences must have been triggered by a raw and basic questioning of what kind of trivial meaning this life of a human being would have in this world. I'm not sure whether the statement of "Humans don't die" is a conclusion or a wish that was reached by an awakening after countless and continuous prayers. The only thing I can say is that Kariya's whole history and whole existence are staked on this thought. His creative activities and all of his works are certainly based on this statement and are implemented from there. In any case, does the statement "Humans don't die" hold good in this world? Human lives have been so easily taken throughout the twentieth century and that is still so. It is not enough to mention Auschwitz and Hiroshima. The issues that Kariya refers to in his works, such as the crimes against humanity in Bosnia, Palestine, Somalia, Cambodia, Angola, El Salvador, nuclear issues and AIDS, nations, ethnic groups, race, gender, violence and homicide are repeated anywhere, anytime, and people die like torn and discarded pieces of paper. If a proposition that "Humans don't die" holds true, this world phenomenon must be regarded as a pseudo phenomenon. However, this is neither an escapist attitude nor a hermit idea. Reality exists as facts although it might be a pseudo phenomenon. It exists only at present and repeats its existence. What seem to be humans' life and death are pseudo phenomena. Humans don't die---this is a world view relevant in Kariya's work. ....................................................................................... A string of words that are repeated endlessly in many of Kariya's works---"the now is"---is called “ 'the now is' sutra" by the artist, and it expresses his world view very well. According to Kariya, creating an illusion of all at the same moment exist: "the" is a directing (person), demonstrative pronoun; "now" is an object of concept (symbol); "is" is present (of all beings at the same moment), changing movement of this world phenomena ---present as eternity; and is what is present, the one and only presence, that the world phenomena continue to exist at the same time (as another, that the another does). 　 Kariya's art is first and foremost the demonstrative pronoun “The." However, the function of this instruction is activated as "is" in the sense of existence as a phenomenon and in the sense of the act of creation, and this act of instruction and the work of existence itself are all subsumed by the concept of "now" in the sense of constituting "now". In this way, the three parties "the," "now," and "is" form a trinity in which they are independent and encompass each other, each being a part and a whole, or "the" is "void". The trinity of naming, concept, being or the holographic illusion. Kariya simply making a documentation of what “THE” index is. ....................................................................................... It is a little complex and difficult to grasp, but let me explain in my own words. "Now" is a concept---a basic concept---that the whole universe, including us humans and every phenomenon in nature, exists as pseudo phenomenon in this world. That this basic concept works as an actual phenomenon and exists is "is." What directs and reveals this basic concept of "now" is "the." Thus Kariya's work exists first of all as a demonstrative pronoun "the." At the same time, this demonstrative function works as "is, " both in a sense of existing as a phenomenon and as a creative points to the world phenomena of expression. Such a demonstrative conduct and function of existence are all included in the concept of "now" in the sense of forming "the present." In this way, three elements of "the," "now," and "is" include each other while existing independently, and they are part of each other while each is the whole. They consist of the tripartite unity---direction, concept and existence. In the esoteric Shingon sect of Buddhism, its object of worship, "Dainichi Nyorai," exists as a phenomenon of "a matter, an affair, a circumstance, an event" while it is also directed as a "name." This idea is embedded in the icon in the "Kongoh" World Mandala and "Taizo" World Mandala which respectively place "Dainichi Nyorai" in the center. The former portrays the static order of the universe, while the latter its dynamic aspect. Kariya always says his work is a sutra. It is so because the letters (words) he writes are not simply symbols, they are linked with ideas, and they continue endlessly. In a viewpoint of "the now is" sutra, which forms the core of Kariya's philosophy in his work, it would be possible to view all of his works as a mandala. When viewing it as a mandala, the idea that each is a part and the whole (which I have explained in terms of the relationship of the three words) can be well understood in the philosophy of Kariya's work, as applicable to every phenomenon in the universe. While humans are a part of the universe, we are the universe itself. Any tiny, trifle existence in this world - even the dust in the air or a dewdrop on a leaf - is part of the universe, and at the same time, includes the whole universe. Thus, Kariya's phrase introduced at the beginning of this text: "Humans don't die" is followed by the sentence: "Humans are the universe." We still have another issue that we have to think about when facing Kariya's work. That is, why his philosophy comes to exist as an artwork. Sometimes Kariya calls his work or his whole solo exhibition "Engraved Time." A person is always living in the flow of "present" while being aware of its continuity. "Being aware" means that each moment is an awakening while this sense of awakening becomes unaware when it attains the normal state. Kariya compares awakening to a hit on the shoulder while meditating at a Zen temple, or wakening up in the morning, or the ringing of a telephone. That Kariya creates his work and writes sutra is also an awakening and a succession of awakenings it is the engraving of time. The reason why Kariya's work has overwhelming power for the viewer is because the viewer is awakened and made conscious of his/her place in the universe. Then the viewer recognizes that this moment of awakening and the awareness of it are generated by the result of the artist's tremendous labor over a long period of time. All of Kariya's works are the product of stunning continuation. When one looks at his work, she/he is first overwhelmed by what appears, and is further overwhelmed by the tremendous amount of work that has been expended. 　While any work of art is required to have some kind of visual strength, where does the power of Kariya's work come from? His work is not an indirect and abstract illustration of an artist's concept. The materials he uses blackboards, stones, discarded objects, scrap of newspaper articles, words written with a chalk, flowers are primary in his thought and are direct. In this sense, Kariya's work is realistic in the true meaning of the word. Many visitors to his exhibi- tions say that they are awe struck. So am I. I am still reminded of the shock that I experienced at his solo exhibition entitled "In Memory of 1992, " in which a number of discarded objects, wrapped up with white cloths, are put in rows, like bodies. These "bodies" are not an illustration of the artist's view on humans, but are a literal indication of a fact that humans' lives and matter circulate. No doubt this direct and shocking method generates power and over- whelms people. There is one last element that moves people in Kariya's work. After all, his work is positive. At his exhibit at Art Tower Mito, there was a telescope placed in the last room, and visitors would peek and see "future" written on the other end. It is nevertheless meaningful to ironically display atrocities and contradictions happening in this world. How- ever, I believe that a great work of art has something powerful and positive at its base regardless of how depressingly it is expressed. In order to endure doing ongoing ironical work, an artist must stay essentially positive. But, since there are so many simple, ironical works in today's contemporary art, Kariya's work is burdened with the worst atrocities and discrepancies that the twentieth century (some would argue, the most pathetic century ever), has generated. At the same time, his work offers us courage, mercy and love to directly look at and be aware of this misery. The work was nurtured from one's personal experiences, but it secretly breaks through its shell and penetrates our existence- -because- "humans don't die" means "humans are the universe." (Translation by Miki Nishizawa, aka Miki Miyatake) Yasushi Kurabayashi 1997, Catalog Essay Tripartite Unity of "the now is" →🇯🇵 Kurabayashi97Kariya a 倉林靖 / 1994 開放系カタログ評論文/水戸芸術館/日本語版/1994 　 刈谷博の個展『追悼1992』に初めて訪れたときの印象は鮮烈だった。展示会場は一階と三階に分かれていたが、まず「18面経」と題された一階に入ると、廃棄物を袋につめることによって作られた人体が何体も横たわっている。その人体は紐で梱包されており、そこにはチョークで雑然と英文が書きなぐられた黒板の断片が幾つも結び付けられている。何だか分からないが、なにか人間と社会に関わるのっぴきならないメッセージが封印されているのだ、と予感される。 　「415 Palestinians」と題された三階に上がってみると、こんどは壁一面に、文字を書いた黒板がびっしり並べられている。「Killing」などといったスキャンダラスな文字が目につく。ときどき新聞記事の切れ端が貼ってあるものもある。殺人や暴動や戦争を扱ったものが多い。そこには人間の罪深い行為が文字の形をとって、作者の強烈なエネルギーによって封じ込められているように思えた。会場はこのうえなく静かだ。しかしそこには同時に無数の叫びが満ちていたのではないか。沈黙の叫び。空間に帯電された、業の深い人間の生の営み。 　刈谷博は、このときの個展の副題を「報道絵画・彫刻展」と名付けている。なぜ「報道」なのか？彼は毎日読む新聞や雑誌の記事のなかから、あれらの言葉に巡り合って、書きつける。なによりもまず真実を伝えようという意図から発した言葉たち。それゆえに、彼の作品は「報道」絵画・彫刻なのだ。毎日、世界のどこかで発生している強い憤り、深い悲しみ、それらを彼はアートの形でそのまま見る者に伝えたいと欲するのである。 　刈谷の作品を流れる思想はきわめてユニークであり、そしてある意味では、やや難解である。「私の作品のテーマは、書く(刻す)という行為であり、その過程であり、そのイメージにある。」「この作品のテーマは生きる(刻す)という行為であり、その過程であり、そのイメージにある」と彼は言う。そして、この「書く(=生きる)」という行為の背後には、仏教でいうところの「写経」という考え方がある。彼は、自分の作品のことを「"Sutra",言い換えると『お経』であるという。「"Sutra"とは梵語で糸または紐の意で、生きるための教えを書いたものを編纂するのに用いた"綴じ紐"という意味である」。 　写経とは、経文をかきうつすことにより、死者への供養や、願いや祈りを捧げることで、もちろん経文を後世に伝えるという意味もあるが、むしろ写す者の精神や彼をとりまく世界を平安にする目的のほうが大きいと思われる。写された経文という、行為の結果よりも、写すという行為そのもののほうが尊ばれるという、われわれから見れば一種の逆転が起こるのである。ここにおいて、書くこと=生きることとなり、行為は祈りとなる。 　仏教的世界観に照らしてみれば、この世界で生起する一切の出来事は、また一人一人の個人とも「因縁」という形で密接につながっている。世界の森羅万象、万物が、連鎖する原因と結果のなかで結ばれているのである。だから、いま世界で起こっている暴力、戦争、悲惨、あらゆる行為が、実は個人の欲望と結ばれているのである。世界の出来事に個人は責任の一端を持ち、そして、世界を、自らの欲望が生んだ「業」の結果として見る必要が出てくる。これは、西洋世界が持ちえない独自な世界観・人生観であり倫理観ではあるまいか。刈谷はこうして、世界で起こっている事象に対して、自らの精神からの祈りを捧げるのである。 　こうした考えの背後には、やはり、物心二元論・主客二元論を超えた東洋の一元的な思考があるといえるだろう。個人の「精神」と、世界で生起する「事象」とは、分かち難く結ばれている。そして本来、世界とは、時空を超え、時空が統一された世界を本質とするものなのである。しかしこの物質世界においては、逆に、一切は「今」という時間のなかで生起する。そこで刈谷は、今生きてここに在る、という営みの表現として、「一句蓮経」を捧げる。1977年に日本から渡米して以来、毎日さまざまなものに書き付けているのだという。「the now is the now is the now is the now is the ...」と、その経は、無限の円環を広げていく。 　刈谷はその77年以来、今日まで、さまざまな「経」を行っている。それらは、経が書かれる素材などから、さまざまな名で呼ばれている。「流木経」「年輪経」「石想経」「渦巻経」「廃材供養経」「種子経」「合掌経」「呼吸経」などと。たとえば「種子経」は、「一日に一度一握り分の豆にお経を書いたもの」である。 　そして刈谷にとってもうひとつの経が、新聞や雑誌に出ていた記事の言葉を黒板に書いていく、あるいは切り抜いて貼っていく「黒板経」である。こうして刈谷の作品は、「つくる」という意識よりもむしろ、日々の平凡な営みのなかから出来上がってくる。まさに結果よりも行為のほうに重点が置かれているのである。また、作品に使われた素材はすべて廃棄物・廃材であり、それらは展示のあとはまた別の作品に使われたり、別な用途に使うためにとっておかれる。この世界における、あるいは物質世界と非物質世界とのあいだにおける「もの」の、もしくは「生命」の循環、死と再生を表すものであろう。そして同時に、展覧会場に置かれた廃棄物は、今日の物質世界のなかではそれらが文字通り「死物」と化するほかはないこと、今日の「死」がこのように陰惨な光景であること、なども告げているのである。 　こうして刈谷の作品は、「今」の世界が生起させる、さまざまな現象が、物質と言語によってあらわされた場となる。「追悼1992」の場合には、一階にあった18体の人体はそれぞれ「ソマリ人」「ソマリア」「三人のトルコ人」「寺院」「カーディスタンと呼ばれる国」「ロシアはロシア」「アンゴラ」「エルサルバドル」「カンボジア」「からだを包むもの」「ボスニア」「ホームレス」「放射能」「廃棄」「アジアエイズ」「母」と呼ばれる。「母」は、この年亡くなった刈谷の母をあらわし、個人的な体験における「死」と世界で起こっている「死」の関連がここで表現された(「母」のそばにあった付けっぱなしのテレビは、今日から明日への持続性を示すもの)。ここに書かれた文字は、それぞれの人体に関連する新聞記事からの引用である。たとえば「三人のトルコ人」は、ネオ・ナチによって三人のトルコ人が殺害された記事から生まれた。 　廃材を使って物質の生々流転を表現すること、およびそこに経のさまざまな作品を配して、時間が悠久のものであり同時に現在性としてのみ顕在するということを表現したものとして、1990年にペンシルバニア大学のInstitute of Contemporary Art (ICA) Philadelphia で開かれた個展がある。そこでは、以前に同じ場所で行われたイリヤ・カバコフの個展のあとに出た廃材を利用した。物質の循環という思考から生まれた典型例としてのインスタレーションである。すなわち、カバコフのインスタレーションで特設された壁を取り壊し、その廃材の木材と漆喰版を使ったのである。 　取り壊しの際、刈谷はまず壁に格子状の線を引き、区画ごとに文字と番号による表示を書き込んだ。彼は大きな断片によって壁を再構築し、また木材は大きさごとに整理して脇に並べ、果ては細かい断片や屑、埃さえももれなく利用し並べるのである。さらに、細かい漆喰の破片800個に通し番号と捺印を施し、それをICAが一人につき一個一ドル紙幣のみで販売し、その売り上げはカバコフの壁の材料費の埋め合わせとして利用することにしたという。 　ICAの個展では、カバコフの壁を再生したこの「記憶(カバコフの壁)」のほかに、次のようなインスタレーションが行われた。 廃材の木片を横6列の帯状に展示し、また床に幾つもの巻物(いろいろな長さに広げられている)を置いた、「八千年の春、八千年の秋」(木材と巻物にはそれぞれ「is the now」経が書かれている。巻物のほうの経は、木材に経を書いた筆の絵の具を洗う途上で描かれた)。そして、さまざまな経の作品を、木材の自在棚や、その背後の床に並べた「経墓」。 　そのさまざまな経の作品のなかには、先にあげた、流木や、年輪のある木に経を書き綴ったもの、丸い石の円頂から渦巻状に経を書き、裏にまわってもうひとつの円頂まで書いていくもの、さらにその二つの円頂を貫く穴をあけて循環性を強調したもの、またインク瓶などの小さな容器、電球、ポストカード、骨など、あらゆるものに経を書き付けたものが展示された。そこにはまた、一個一個が経文で覆われた百個の小さな石灰石と、先ほど述べた「種子経」の、一握りおよそ百粒の豆の群れが百握り分(一個一個の豆の表裏も経で覆われている)とが、それぞれ輪をなして床に配置されていた。 　このような展示に見られる刈谷の作品の特徴は、ひとつには、呪術的・儀式的側面であろう。アラビア文字とも見紛うばかりの、うねりの激しく、そして細かく執拗にものに刻み込まれる文字は、それだけで、何か文字の持つ呪術性を思わせる。その経が書かれた日常品は、「もの」の次元を一気にとびこえて、物質性と非物質性の両者を合わせ持つ特別な性格を与えられるようだ。 　また、部屋のなかに明確なプランを持ってものを「置いて」いく刈谷の展示は、アメリカ・インディアンなどさまざまな種族が行う秘儀の行為を模しているかのようである。それらのひとつひとつの配置の行為の裏には、刈谷によって与えられた意味が充満している。それゆえ、その意味のひとつひとつを詳しく解説しようとすると、刈谷の作品はいつも極度に膨大なテクストによってやっと語り尽くせるような幅に広さを持っていることを思い知らされることになる。しかしそれらの行為の意味は、もちろん刈谷ひとりが基本的におっていればよいものなのだ。刈谷の作品は、それ自体で完結した行為であり完結した意味を持つものであって、その点では、表現と受容という西洋的な美学の基本的な設定を崩してしまいかねないものである。刈谷の作品は、特定の意味や表現を受手に伝えるものではなく、その作品が世界内に存在するという、作品のありかたそのものを観客が受け入れることによって受容が成立するという点で、他にはあまりない、アートの新しい在り方を示唆するものである。 　今回の水戸芸術館におけるインスタレーションは、基本的にこうした営みから生まれた空間であり、従来よりさらに拡大され表現性を増したプランを持っている。さまざまな部分から成っており、それらは「包帯とガーゼ、絆創膏の旗」「世界の壁」「赤十字の壁」「担架」「百体のからだを包むもの」「花とローソクとチョーク」「女の子とハゲタカ」「ボスニアの壁」「UNの壁」「砂袋の壁」「トルコ人の壁」「抗議の壁」「迷路のある教室」「修理中の机の上と椅子」「落書きの壁」などと呼ばれることになる。 　そこでは例によって、黒板に書かれたさまざまな文字や、布に包まれた人体をはじめ、血痕や絆創膏がついたガーゼや担架や赤十字のマークのイメージ、人々の抗議の声を書き付けた板、棒、布、砂袋、国連の救援活動の物不足の様子、花やチョークによる追悼のイメージなど、さまざまな要素が重なって、見る者に強い印象を与えるだろう。 　最後に観客が入る展示室は、勉強机と椅子が迷路のように並べられて行方を阻んでいる「迷路のある教室」と呼ばれる部分で、観る人に特に感慨を与えずにはいないだろう。それぞれの机の上には、宗教、環境憲法、国家、民族、人種、政治、City Water、Education、Food、Povertyなどという新聞活字を貼った黒板が置かれている。机の内側にはタイム、ライフ、ナショナルジオグラフィックなどの雑誌、ニューヨークタイムス、朝日新聞、社会・科学・世界地図、宗教書などが収まっている。 　一つの机の中には、懐中電灯が付けっ放しになって用済み電池を照らしている。四方の壁はさまざまな言葉の落書きで埋めつくされている。そして観客にとって手前に、望遠鏡のついた測量機が置かれ、その望遠鏡をのぞくと、前方の壁の中央にかけられた黒板の文字がみえる。 　その文字は「未来」である。 　刈谷の作品は、世界の状況を「客観的」に眺めて表現しようというものではなく、この世界の状況を、自己の存在も含めたひとつのものとして把握しようとする点で、西欧の美術作品にはまったくない新しい視点をもたらすものであろう。こうした視点が、これからの世界を築いていく重要なものとなっていくのではないだろうか。 　時空間を超越した刈谷の作品世界は、しかしそれゆえに、やがてわたしたちが「現在」として相対することになる「未来」に対する透徹した目を持っている。この静かな、しかし烈しい主張のこめられた彼の作品は、わたしたちの存在そのものを強く震撼させる、現代アートにまれな存在感を持っているといえるだろう。 倉林靖 「開放系」展カタログ評論文 水戸芸術館現代美術センター、1994年 →🇺🇸 倉林靖94 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More a HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 倉林靖 / 1997 「the now is」の三位一体、ミヅマ画廊/1997 　人間は死なない。 　これは、一九九四年にミヅマアートギャラリーで開かれた刈谷博の個展に際して、作家によって書かれたテキスト「在（いま）」の冒頭に掲げられた言葉である。私はこの断定に深く心を奪われる。ここには、この作家が形作ってきた自らの生そのものと、さらにそこから生み出された作品とがくぐり抜けてきた、思索と祈りの体験が凝縮されて示されていると思えるからだ。 　今日では、芸術家の作品とその生活とを混同して見ることは禁じられている。現代はすでに「悲劇の画家」ゴッホや「呪われた画家」ゴーギャンの時代ではないし、日本の大正・昭和初期に流行した「私小説」のように作者の実生活をそのまま作品の題材とする創作態度は拒絶されている。 　確かに、作品のなかに物語やドラマを読み込み感傷的に作品をみる態度は克服されてきた。けれども一方では、高度に哲学的な意味において芸術家の生と創造行為とは一体であるという考え方が、等閑視されている。作品は確かに創造された瞬間から作家とは独立して生きて行くのだとしても、芸術家が創造を行うというその行為は、日々の生活や思考、そして肉体、あえて言えば芸術家の「実存」が世界に対する在り方から抽象されて生み出されてくるものである。ある種の芸術家にとって、こうした見方を捨ててあまりにも即物的に作品を受け入れようとする態度は、その作品理解を大きく妨げることとなる。刈谷博もそういった作家たちの一人なのだと言わねばならないだろうか。 　刈谷は幼少の頃、祖母から見せられた地獄草紙のイメージに驚愕し、以来、死という観念が発する毒味のある恐怖に深く包まれたようである。その後の彼のさまざまな人生の変転に細部までわたることはここでは差し控えるが、それらもおそらく、人間の小さな生がこの世界で一体どんな意味を持つのかという、生々しい、根本的な問いかけが引き起こした様々な事件であったに違いない。人間は死なない、という明言、それは結論であるのか、それともあるいは安定した祈りの境地に達した願望であるのかそれは定かではないが、これはそれだけで刈谷の全歴史と全存在が賭けられている思想であるというほかはない。そして刈谷の創造行為、全作品は、疑いなくこの明言を基礎におき、そこから実現されているものなのだ。 　しかし、 人間は死なない という明言が、果たしてこの世界で成り立つように見えるだろうか。二〇世紀という時代全体を通じて、そして現在でもなお、人間の命はいかにも簡単に奪われていく。アウシュビッツやヒロシマに言及するだけでは足りない。刈谷のこれまでの作品で言及されるボスニヤ、パレスチナ、カンボディア、アンゴラ、エルサルバドル、放射能とエイズ、国家と民族と人種、性、あらゆる場所、あらゆる状況で暴行と殺戮が繰り返され、人々は紙切れのように死んでいく。 　そこでもし「人間は死なない」という定理が成り立つとすれば、この現象世界の方を仮象と見なされなければならない。これは決して現実逃避的な態度ではないし、厭世的な思考でもない。事実そのものとして、現実は仮象として現在という一瞬、「今」という時間にのみ生起し、存在の運動を繰り返し継起させ続けている。人間の生死と見えるものは仮象である。人間は死なない。これが刈谷の作品にあらわれる世界観である。 　刈谷の作品の多くに繰り返し書かれる「the now is」という言葉ー作家はこれを「the now is」経（スートラ）と呼ぶが、この世界観を最もよく表現している。 　刈谷によれば、 「the」は指し示す（者）、指示代名詞、集中、一点、的、 「now」は概念の対象(シンボル)、(今）瞬間性、 　現象世界の変転する運動ー永遠、不滅の在（いま） 「is」は在ること、（もの）、唯一の有、現象世界があり続けることであることになる。 　「the」は「now」の現象世界を指し示し、その現象世界が「is」である。その「is」は「the」によって指し示される「now」という現象の現れの状態であり、同時に「now」は全てのつながりが「is」という表れを表現するという概念であるということでもある。 　やや錯綜した分かりにくい考えだが、私なりにいいかえればこうともいえようか。つまり「now」＝今とは、私たち人間や森羅万象もを含めた宇宙全体が、この現象世界において仮象として存在するという概念であり、いわば根本理念である。この根本理念が実際の現象として発動し、存在しているという働きが「is」なのだ。そして「now」という根本理念を指し示し、明らかにするものこそが「the」である。 　すなわち刈谷の芸術は、第一にまず「the」という指示代名詞として在るということになる。ところがこの指示の働きは、現象として存在するという意味でもまた創作の行為という意味でも「is」として発動しているし、こうした指示行為、存在の働きそのものは、「今」を構成するという意味で「now」という概念に全て包括される。こうして「the」「now」「is」の三者は独立しながらなおかつそれぞれがそれぞれを包括し、それぞれが部分であるとと共に全体であるという三位一体を形成する。名指すこと、概念、存在することの三位一体。 　密教においては、世界の根本原理である「大日如来」が「事（こと）」として現象し存在し、またそれが「名」として指示される。この考え方は、大日如来を中心に置き宇宙の静的な秩序と動的な様相とをそれぞれに表した、金剛界曼荼羅と胎蔵界曼荼羅の図像に秘められている。 　刈谷自身は常に「私の作品はお経（スートラ）である」といっている。それは何よりも文字を書き、そこに単に文字の表象作用のみでない思想を付加し、切れ目のない連続とするという面からそうなのであるが、刈谷の作品思想の中心をなしている「the now is」経からみれば、彼の全作品を曼荼羅としてみることも可能ではないかと私は思う。そしてそこから見るとき、先に三つの単語の関係について述べた、それぞれが部分であり全体であるという考え方が、刈谷の作品思想の中では、宇宙内のすべての現象についてもいえることがよく理解されるのである。人間は宇宙の部分であるとともに宇宙そのものである。この世界にあるどんなに卑小で微細な存在も、空気中の塵や、葉の上に結ぶ露でさえ、宇宙の部分であるともに宇宙全体を包括する。それだから、この文章の冒頭で触れた「人間は死なない」という刈谷の言葉には、次の言葉が続いていたのだ。「人間とは宇宙のことである。」 　しかしもう一つ、刈谷の作品を前にして私たちが考えなければならないことがある。それは、なぜ彼の思考が美術作品として存在することになるのか、ということだ。刈谷は自作を、あるいは個展全体を「時刻（ときのしるし）」と呼ぶことがある。人は常に「今」の流れの持続の中に身をまかせ、しかもこの持続を意識し続けている。意識し続ける、ということは、一瞬一瞬の覚醒であると同時にこの覚醒が常態化し無意識下のものとなるということだ。覚醒することを、刈谷はたとえば禅寺の喝、朝の目覚めや電話のベルに比しているが、彼が作品を作ること、今日を書くこともまた覚醒とその持続であり、「時刻（ときのしるし）」なのである。 　刈谷の作品が鑑賞者に圧倒的に迫ってくるのは、おそらく、それを見る私たちが、覚醒し、自らの宇宙内にいる状態を鋭く意識するからなのだ。しかも私たちはこの覚醒が、一瞬の意識下の後、膨大な持続の作業を伴っていることを理解するようになる。いわば刈谷の全作品は膨大な持続の作業である。人は彼の作品を見るとき、まず始めにその一瞬の現れを見て圧倒されるが、次にその持続の面を考えて再度圧倒されるのだ。 　美術が美術作品である限り何らかの視覚的強度を備えていることは当然の要請であるが、刈谷の作品のこの強度はどこからやってくるのだろうか。彼の作品は、作家の概念を二次的に抽象的に図解表現したものではない。彼が使う素材ー黒板、石、廃材、、新聞記事のスクラップ、チョークの文字、花などーは、常に彼の思考にとって第一次的で直接的である。刈谷の作品はだから真の意味で「リアリズム」芸術なのだといっていいだろう。 　刈谷の個展を訪れた多くの者が、厳粛な気分に打たれたと語っている。私もそうだ。「追悼1992」と題された個展会場に足を運び、そこで廃材を布で梱包してできた人体が並べられた光景を見たときのショックはは忘られない。それらの人体は、作者の人間観の図式的な表現ではなく、人間の生や物質は循環するという事実の文字通りの提示なのだ。この切り詰められた方法が迫力を生まないわけがなく、人を圧倒させないわけがない。 　刈谷の作品が人を感銘させる要素が、最後に、もうひとつある。彼の作品が結局、肯定的（ポジティブ）であるということだ。水戸芸術館での展示で、彼の展示の最後の部屋に望遠鏡が置いてあり、それを覗くと「未来」という文字が写った。もちろんこの世界で起きている悲惨や矛盾をあげつらい、アイロニカルに表現することには意味がある。しかし私は、偉大な芸術作品は、どんなに暗い表現であってもその底に力強く肯定的なものをもっているものだと思う。徹底したアイロニーの作業に耐えるためには、作家は本質的には一層ポジティブでなければならない。しかし昨今の現代美術には単にアイロニカルなものがいかに多いことか。刈谷の作品は、世界史上もっとも悲惨な世紀である二〇世紀こそが生み出した最悪の悲惨と矛盾を背負っている。しかし刈谷の作品は、わたしたちにこの悲惨を直視し意識する勇気を、慈悲を、愛を与えるのだ。作品は一人の個人的体験から出発したものであるが、それは密かに孤独の殻を破って私たちの存在に浸透し続ける。 　なぜなら「人間は死なない」「人間とは宇宙のことである」から。 倉林靖 「the now is 」の三位一体、カタログエッセイ ミヅマアートギャラリー、1997年 →🇺🇸 倉林靖97刈谷：人間は死なない SITE> 98 ERIC MEZIL OMATA IZUMI 96 MIYATAKE 95 A.M.WEAVER 94 KURABAYASHI 90 SOZANSKI 18 BURAKHMEDI 96 MIYATAKE 95 A.M.WEAVER 94 KURABAYASHI 90 SOZANSKI H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

Exhibition, 2019,The Armory Show, OSDLM 2018 Large assembled work, Face Sutra, Seed Sutra works. Top of Page STATEMENT SPEC of WORK ARTICLE 法と順列 記事 Mizuma Art Gallery, Tokyo H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Mizuma+Kips2020 Armory|2019 Mizuma|2018 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More | TELEPATHY | OSDLM2018L | | PHOTOGRAPH | 12'x8' | 366mmx244mm | 2022 | March 6, 2019 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Private Collection, USA HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Private Collection, USA HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More OSDLM 2018, Work in progress.for ARMORY 2019 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More | MOTHER | OSDLM2018L | | PHOTOGRAPH | 12'x8' | 366mmx244mm | 2022 | 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 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 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 | TELEPATHY | OSDLM2018R | | PHOTOGRAPH | 12'x8' | 366mmx244mm | 2022 | 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 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 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 STATEMENT STATEMENT It's All About The One Piece And Millions of Others Law and Order / His-Story 　The intention for his work this time is to establish a distinctive law and order, and leave all traces directly related with the whole creation. It is then, to investigate the illusion and the reality how we see our world is. (His 1 piece of 1,051,643 pieces of stories on 3/6/2019) 　The illusion and meaning that contradict and adhere on the surface relates to the a priori of viewers’ law and order. 　The artwork is a document of his act relating to creation or fabrication and whole story is written or programmed under his 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 he has created, but something that pertains to a priori; relating to or derived by reasoning from self-evident propositions. (A priori; Latin for "from the former" ) 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... who speaks? 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 no one make mistakes; just joyful little calligraphic coincidental-drippings. Kariya has exhibited early year 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 other museums and galleries. →🇯🇵 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More OSDLM F4 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" OSDLM E4 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" OSDLM D4 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" OSDLM C4 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" OSDLM B4 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" OSDLM A4 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" OSDLM F3 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" OSDLM E3 Mixed Media, Canvas+Plastics+Ink on White California bean seeds, vinyl resin. News article collage on seeds (vinyl resin UV protected). work in progress, 2023~ 1 of 12 Parts. 24"x24"x2" D3転選顔是 Show More SPEC of WORK HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ARTICLE 「It's All About The One Piece, And Millions of Others」 ⭕️ Law And Order / His Kariya Hiroshi says that the code is in “the index to point what is the illusion and 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”... ................. Mizuma Art Gallery, Tokyo, January 2018 article by @artkukhnia Olga Burakhmedi ⭕️ Thoughts There is nothing useless, mistakes, correct or wrong in this world. What is called trash, garbage is equivalent to what is named as value, honor, sublime. It is an absolute matter that is essential. So it exists. It is for them to exist as a part of the system of existen ce. It is, because as a manifestation of the different aspects of existence, each complements to connect each other. It is, because it exists as a function of existence. Why is it present, if it is unnecessary? One purpose of the work is the presentation of this question. 
 What is told to exist under this three-dimensional is not only one that is visible. Feelings, misunderstandings, or illusion to believe for real, believing in reality is an Element, hidden to ponder why in three dimensions. I will call them "the now is" for everything including the illusion, what you call it "thoughts" or "believe" under these three dimensions. Though, I can not be thrown away those things that are entitled "not worth their existence". (quote for ICA philadelphia, 1990) ⭕️ The work is the Concept of a binding String called "Sutra". It is to link, focus all in one. The work is a composition of three functions: (1) To affirm the writing as a generative force. (2) To produce a rular to measure the writing. (3) To recall, on the surface, the form of Sutra. (quote for ICA philadelphia, 1990) ⭕️ "Seed Sutra" "Seeding" The work is made for 1 day work on one frame. The dimensions of the work derives from the dimensions of the writer's palm opened. The work is a rular to measure the three-dimensional references. Quantity per hand = about 100 pieces (sometimes, just 1 piece or none) The work "Seeding" or "Seed Planting" is the second stage of work. The seed is pasted on a transparent plate following the layout sheet behind the plate. 
 Initially, this "seed planting" began for the purpose of preserving the past seed sutra works. Along with it another series work "face sutra" was produced, the record of passage of time. The work is cut out face from the daily news articles, then pasted on the reverse side of seed. 　The work was made for the different aspect of "sign of the times". As a data recording process, numbers or arbitrary images were produced in parallel. HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 法と順列 法と順列 ／彼の →🇺🇸 ⭕️ 個も全ても同時 　作品は独自の法と順列を設け意図され、その制作に関わった作家の個人的なモノ・コトとの記録の産物である。 　表面の矛盾と恭順のイリュージョンや印象は作家のそれと同様に観客の法と順列に於ける元より自由なアプリオリ＝先入観と異ならない。 　作品は観客自身の「イリュージョン」の計器である。「それ」は専らが作品風景と観客ひとりひとりの「先見」と時空間と場、それら以外の流動しつづける生の主観との「ずれ」である。自由に個と全部の同時にそれが起こる。 　作品は想像＝創造・捏造という行為の記録である。記録は自らが設定した制作上の法と順列から始まる。それらは制作の手順や、方向、番号、記号、記述ミス、その消去の痕跡が何層にも重なり裏側に配され隠され残されている。それら配列の結果である表面、それは掘り返されれば現れる、真実を覆い隠す新たな真実性、証拠性を提示するのである。 　表面を見る観客にとっては、単なる表面(またはキャンバス)上の偶発的な滴りを見ているにしか過ぎない。仕掛けである。そこに観客の先入観が導入され顔＝表面に探し求める既知のイメージとの遭遇に、アプリオリの働きが作用するのである。曖昧なイリュージョンの味根拠に視点が灯される筈である。 ⭕️ 波動またはエネルギー 　一見、遠くからのそれは、全体と部分が繋がった、勢いのある流れ、波動、龍脈、透明、反射である。近づくそれは、幾層にも重なった面、反転する粒や群のイメージが意図されている。 　全体は相対的で関連し合い複雑に組み合わされ構築されている。配列の情報性は、上にあるものは下にもある如く「他を見る」ような見え方の元々が自由なのである。秘密が隠されているが如くの痕跡の無頓着が放たれているのだ… ⭕️ 想像は創造 　作品は作家自身の手による、自らの実践体験が主題である。 身体の自由な法と順列の下に経験する、その体験過程を作品にする。自らの法の下に間違いと扱われる事物も含まれる。意味づけ定義でっち上げの根拠を自らが築き体験し問いに巡り逢う体験実録。創造と捏造も想像の技である。 　作品は被写体の描写ではない、自身が生きる作業に呼び込み組み込まれたものである。だが観客は作家の間違いを出来事として見てくれるだろうか、偶然の筆の滴り、飛沫、色合いの質という生のリアリズム絵画を。 ⭕️ 「the now is」経 　作品は「経」、糸、意図、綴じ紐である。 この三次元現象世界という真実偽善の滑稽を生きていることごとくを一本の紐にたぐりよせる風景。その一本の綴じ紐、糸、意図を観るのである。 　刈谷は現象世界を「念」じ、分解し「今心」ひとつづつ「心にいまをもたらし」行為に下し「是現在」「そのいまとは」「the now is」と記述する。 　記述の原本はモーゼが（あなたを何とお呼びしたらよろしいでしょうか？と尋ねた下り）自らが心奥に響き聞いた 声の私訳「こころいまし」「今在し、昔在し、後在し」。仏陀の「ナモアモダボ」「引け芯を実に」「喚起、真実、心證」。そして後「the now is」「是現在」「三文字」に至る。「是彼 」は「概念」である。同じく「私他」「言語」「断片」「善悪」「前後」「正誤」「美醜」「有無」「真偽」「定義」「存在」それら 全ては人工概念である。ひとつとは無数のそれぞれに止まらず変化し続けているエネルギーである。 　初頭は「一句蓮経」と呼称。実践行為は1977年の渡米の機上、英語圏で始め通常英語を使用。ドイツ語圏とフランス語圏で用いた直訳文が用意されている。和訳は「是現在即」「是現在」「是今即現在」「是在即」と変化多様、順列形式原則を定めず。想像も含め筆記可能なもの全てが用いられている。 　作品は三文字、又は三概念をいつ、どこで、何に、如何の関連関係が制作手法を決定する。物象、制作手法、行為の現在一致、同時、同化、調和、融合の呈示検証、瞑想も含めたそれら一切の観察が永遠不滅究極の目的である。制作時の背景証拠を同時に伴った記述行為の記録・時刻である。 　作品は概念である。行為の特徴はそのツールの三文字「the now is」が付され蓮らなり甚大な量の記述の山が陳列される形相にあっても、如何なる時、場、事、誰、何れに於いても「the now is」三文字現在の同時に始終する。 「経」とは常、普遍性、連続、繋がり、元から発し元に戻る、ひとつにする、一箇所に手繰り寄せる、閉じる、派生する、源、ひとつに始終する。ひとつひとつのすべてが、愛に心集約始終 する。 種子経・概略 　作品「種子経」ミヅマ画廊、2018年、東京展展示作品概要 （種子経：刈谷命名の造語1989年EXIT ART, NY個展の際に用いた） 　作品は1つの枠内に収納の有限性概念を呈示する。寸法は手のひら大の基準である。作品はこの第三密度世界の有限性基準値を表す概念の「計り」である。 一握分の数量＝約100粒が限定範囲の量。一粒の時もあり、零の時は掌の相。 　「植種経」は二段階目の作である。初段階、種子への記述は一日内に制作される。後、任意に「植種経」として選ばれた一部が20センチ四方の透明板に転移、貼られる。これが、当展示作品である。新たに、種を蒔く、植える、また始まる、つづく行為「植種経」を呈示する。 　「植種経」の元型は当初、過去の種子経作品の長期保存が目的で始まる。 それに伴いオリジナルの写真記録などのイメージの再現が追随。 　制作途上、種子一粒一粒のアイデンティティ合わせ整理の段階で顔経作品が関連して生まれた。 　当時、種子経の裏面として顔以外の数字又は任意のイメージが並行し生産されていた。作品は既存作品を元とする継続する不滅現在を呈示する。 　制作プロセスは生を記録する時刻（ときのしるし）である。生の一瞬一瞬が写経である。イメージは夢、瞑想、記憶、過去のドローイング、その日の生活の動きや思考の様の図像、表現意図の具現化などを出典とする。 　小さな画面は作家の手の平を拡げた領域で種子が生き活動する場である。 目を凝らしてみれば、試行錯誤、しがらみ、迷いデタラメ、造作など混在する画面上で動き回る人間の生き様の素描である。 　作品の裏側は取り替えが可能である。常に気変わりし、すべてが真実であり、すべてが虚構である世界を反映する。裏側に潜む操作性を表している。透明な真実らしき見せかけは、いかようにも見える設定である。真実は時に居場所や名前を変える、媒体は透明である。何が見えるか、何を見るか、見ようとするか、見るモノの透明性と、観客の見方の透明性を問う。 存在すべては構造も含め、本来、全て透けている。観客の見方を問うとは、前提という基準とは、不透明性の矛盾とは。自由の元々には決め定め必要性さえもない。 ⭕️ 作品はソレ以外のもの、疑問とヒント、基準と装置と操作を呈示する。 　作品は二重構造、裏側というバックグラウンドの設定である。それは差し替えが効く。見えるものは定まっていない。見えかた次第でいくらでも変わる、変えられる。ものの見え方、バックグラウンドに惑わされる、基本的に全ては透明である。だが観客は、自分たちが見たい映像を、背景を、バックグラウンドを、操作を、その醍醐味を見にやってくる。だから、その無意識下のイリュージョンに働きかける、騙されるという手法が呈示される。 　真に観客が作品を見るのは、自分自身の記憶に出会うためである。作品は、すべての展示を見終わった後、その帰り道のボンヤリに、ふと、さもなくば、眠っている時にやって来る。作品の秘密が…である。 HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 「ひとつの/無数に遍在する/それ」 　刈谷は、1977年の渡米以来「the now is」を多種多様な媒体に記述する作品を制作している。 一日一握りの種子(豆粒)に「the now is」という三位一体の言葉を書き込んでいくという今回の作品「種子経」は、1984年から制作が開始され、初期は何度か中断しながらも続けられてきた。 　 注：種子への記述は2018年12月31日現在1,0510,188粒。 　彼独自の経である「the now is」という言葉について刈谷は「the now is」とは「be here now」という有限のそれではない、と断言します。 「the now is」の三文字の構造は「意識、現象、存在」三文字の一言一言がそれぞれの意味を補完し合い説明しつづける円環の運動を表している。その運動は我々の住む物質世界の一つ一つの生命がお互いの意味を補完し合う構造の系である。連続して 無限に連関し合い運動するイリュージョン、 時空を超えた、われわれの心の在に発し、常にそこにいつづけるイメージなのです。 　朝、目がさめると「それ」が起ってくる、生をまた「繰り返し」「楽しむ」の「である」。「生」その繰り返しが写経なのです。私には「その現在なり」がイリュージョンなのです。「あれではない、これではない」を繰り返し、お経「the now is」の物性世界を「楽しむ」というメッセージなのです。 目を覚まし、息（生き）始めたらその波動に共振する…。 　刈谷の写経は、刹那としての「今」を確認する作業ではなく「念」つまり「今」「心」「在」いま意識甦せの実践だと云います。内心に在いま意識し、外の世界と内の意識の和の調べを祈り刻む、ともいえる彼の作品は、明日何が起こるかわからない外側の世界で生きる私たちに、安堵感を伝え響くのではないでしょうか。刈谷にとって祈りとは、「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＝生命」だと云います。 東京アートビート 　*作家注釈4/2018 記事 H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

渡部誠一、水戸アニュアル「開放系」展エッセイ 刈谷博「時のしるし」水戸芸術館, Art Tower Mito, 1994 Hiroshi Kariya "Sign of The Times" Seiichi Watanabe, Article Top of Page S.WATANABE 渡部誠一 PRESS H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 a Seiichi Watanabe / 1994 　Hiroshi Kariya 　Upon exiting the ATM Workshop, return to Room #6 of the Contemporary Art Gallery, where you must pass under the "Bandage Gate." This leads you to the works of Hiroshi Kariya, a production artist residing in New York since 1977. The current exhibition shows his "Installation 1993," intended as a record of world events in 1993. For the work, Kariya has used material from the reports of everyday news, including newspapers and magazines. He has labeled such a format as "Reportage Painting" and "Reportage Sculpture." These works treat the lives of human beings as their main theme, as well as the record of the traces those leave. 　Kariya calls his works "sutras." Indeed, ever since 1997, he has repeatedly attached the words "is the now" to materials he collects every day, just as if he were copying sutras in the fashion of Buddhist monks. These include a broad variety of items such as wood floating on the Hudson River, waste material from construction sites, and stones that Kariya has been picking up piece by piece each day. 　In his "Wall of the World (Torn Bosnia)" installation, Kariya has hung a great many blackboards along the wall. The boards are made of masonite, a common construction material. Having written the words "is the now" a countless number of times on the oards, Kariya has termed this work his "blackboard sutra." The printed words pasted onto the boards are headlines from newspaper stories, and the articles themselves are pasted ontothe back. Each board has been cut to match the size of each article, resulting in different sizes. 　The articles are arranged in chronological order from left to right along the wall, beginning in January 1993 and ending in December 1993. Here and there, several blackboards are missing, leaving cloth hanging in their place. These are the stories about Bosnia, and have been moved to the brown-colored "Wall of Bosnia" that lies further back. The hanging of boards on a wall is reminiscent of the Japanese custom of hanging "ema" votive placards at shrines, and represent wishes or prayers. 　Lying along the floor is Kariya's work, "That Which Wraps One Hundred Bodies." As the title indicates, there are one hundred bodies, alluding to corpses. A chalkboard has been attached to each of the bodies, and an obituary has been pasted on each board. A equiem sutra has also been written upon each of the boards. 　In Kariya's "Stretcher," a photograph has been attached of a nurse in Sarajevo carrying a bloodstained stretcher. In his "Girl and Vulture," Kariya has brought together a photograph of a vulture waiting for the death of a girl on the verge of starvation, along with a chalkboard with stories about famine, etc. 　Kariya's "Red Cross Wall" and "United Nations Wall" works are made from materials thrown away from the Hidetoshi NAGASAWA Exhibition held recently. Looking through the hole cut through the first work, one can read the words, "STOP THE BLOODY MURDER." The hole in the second work, then, appears to be a hole punched into a silhouette of the Pacific Ocean. His "Desert Wall" comprises chalkboards with photographs of flabbergasted people staring at a flood of the Mississippi River, and a flood in India. 　In his "Turkish Wall," Kariya has highlighted an article about five Turkish people burned to death. Inscribed on the wall is the word "Hass," which means "hate" in German. 　The "Protest Wall" contains news photographs of a broad spectrum of protests: an anti-abortion march in Washington, D.C.; Bucharest residents opposed to the economic policies of their government, and demanding funds for AIDS research; citizens calling for an investigation into the Sagawa Express scandal in Japan; Buddhists in Cambodia praying for peace; Americans clamoring to save Bosnia; people anxious about their future. 　Walking into Room #7 of the Gallery, we see another of Kariya's works, "Classroom with a Maze." Near the front of the room is a surveying instrument with a telescope. The desks and chairs have been arranged in a way to prevent easy passage as a maze, so to speak. On the chalkboards have been pasted photograph files, clippings from such magazines as "Time," "Life," and "National Geographic," and from such newspapers as the New York Times and the Asahi Shimbun. In addition, Kariya has pasted material from books about society, science, and religion, as well as world maps. The desks and chairs used by Kariya for this work were borrowed from Mito City, and had originally come from a school that was closed down. 　At the end, please take a look through the surveying telescope. You should be able to read something. Translated by Paul T. Narum (on Installation at Art Tower Mito) By Seiichi Watanabe 1994, Catalog Essay "Open System" Art Tower Mito →🇯🇵 S.WATANABE a HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More 渡部誠一/ 1994 キュレーター、開放系カタログ・エッセイ/水戸芸術館 　刈谷博 　ワークショップから少し戻っていただいて、第6室の「包帯の門」をくぐって下さい。刈谷博の作品が展開してます。刈谷も1977年からニューヨークに在住し、制作活動を行ってきました。今回の「インスタレーション1993」は1993年の世界記述だということです。制作にあたっては、その素材を新聞や雑誌などの日常の報道ニュースから取材しています。この形式を刈谷さんは「報道絵画」「報道彫刻」と呼んでいます。作品の主題は、人間が生きている、その痕跡を記録することだということです。 　刈谷は、自分の作品は「スートラ」(経）だと言います。実は彼はあたかも写経をするように、1977年以来、毎日さまざまな素材に「is the now」という文字を繰り返し書き付けてきました。その素材とは、ハドソン川の流木、工事現場の廃材、石、一日一握りの豆などです。 　「世界の壁（引き裂かれたボスニア）」には、無数の黒板がかけられています。この黒板の素材はメゾナイト・ボードで、工事現場の養生材などに用いられるものです。チョークで繰り返し書かれている文字は「is the now」で、これも刈谷が黒板経と呼んでいる作品です。貼り付けられた活字は新聞記事のタイトルで、この裏側には記事そのものが貼り付けられています。サイズがまちまちなのは新聞記事の大きさに合わせて、ボードがカットされているからです。 　これらの記事は壁の左から右に、1993年1月から年末へとかけられています。ところどころ黒板が外されて、布が下がっています。これらはボスニアの記事で、さらに奥の茶色に塗られた「ボスニアの壁」に移動してかけられています。なお黒板を壁にかけるという行為は絵馬祈願という意が込められているということです。 　床に横たえられている「百体のからだをつつむもの」は、タイトル通り百体あって、屍を暗示しています。それぞれの屍には死亡記事を貼り付けた黒板が添えられ、鎮魂の経が書き付けられています。 　「担架」は看護師が血痕のついた単価を運んでいるサラエボの写真が添えられ。 　「女の子とハゲタカ」という作品では、餓死寸前の’少女が息絶えるのを待つはげたかの写真や飢餓に関する記事などの黒板が添えられています。 　　注釈（パンを使った女の子の彫刻、その死を背後で待つ黒いゴミ袋を被ったハゲタカの彫刻「少女とハゲタカ」。これら対の彫刻は54枚の｢FOOD｣と｢KILLING」が交互に並んだ黒板の上に置かれている。少女は五カ国製法で作られたパンで組み合わされ、操り人形の如く、天井にしつらえた54本の割り箸に結ばれ透明な紐でぶら下がっている。割り箸は作家の亡き母一周忌の供養で用いられたもの。展示は母の死という時の兆によってよってもたらされたという縁を提示している。） 　「赤十字の壁」や「国連の壁」は、この前の長沢英俊展の撤収で出た廃材で作られました。前者の壁の穴を覗くと「STOP THE BLOODY MURDER」(血生臭い人殺しはやめろ）の文字が見え、後者の壁の穴は、太平洋のシルエットをぶち抜いたようにつくられています。 　「砂袋の壁」にはミシシッピ川の氾濫を唖然と見つめる市民、インドの洪水などの黒板写真があります。 　「トルコ人の壁」は５人のトルコ人が焼き殺されたという記事に取材したものです。壁に書かれたHassという文字はドイツ語で「憎悪、嫌悪」の意です。 　「抗議の壁」には、ワシントンの人工中絶反対マーチ、エイズ研究に資金を、政府の経済政策に抗議するブカレストの人々、佐川急便解明を呼びかける市民、平和を願うカンボジアの仏教徒、ボスニアを救えと訴える米国市民、未来への不安・・・などの報道記事写真がかけられています。 　第７室の「迷路のある教室」に入ると、手前には望遠鏡のついた測量機があり、勉強机と椅子が行く手を塞ぐように並べられています。その配列は迷路のようです。全国版作品の写真ファイル、タイム、ライフ、ナショナルジオグラフィックなどの雑誌、ニューヨークタイムズ、朝日新聞などの新聞、社会、科学、世界地図、宗教書な戸があります。なお、この机と椅子は、廃校になった水戸の学校のもので、市が保管していたものを借用しました。 　最後に測量機の望遠鏡を覗いてみて下さい。 　何か文字が読めるはずです。 （水戸芸術館での設置について） 渡辺誠一「開放系」カタログエッセイ 水戸芸術館現代美術センター、1994年 →🇺🇸 渡部誠一 SITE> 98 ERIC MEZIL OMATA IZUMI 96 MIYATAKE 95 A.M.WEAVER 94 WATANABE KURABAYASHI 90 SOZANSKI PRESS 18 BURAKHMEDI 96 MIYATAKE 95 A.M.WEAVER 94 KURABAYASHI 90 SOZANSKI H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

Exhibition, 1990, ICA Philadelphia, Sutra: One Thing In Everything: Everything in One Thing. Recycled Ilya Kabakov wall, Andy Wahol's wall fragments, 8000 Years Spring, 8000 Years Autumn, Sutra Tonmb, from Exit Art Show, curated by Jurie Courtney, Judith Tannenbaum. Patric Murphy director. TOP SUTRA TOMB STONE SUTRA WALL TEXT 8000YEARS KABAKOV GALLERY CONCEPT CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 8000 Years Spring, 8000 Years Autumn HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More ONE THING IN EVERYTHING EVERYTHING IN ONE THING SUTRA TOMB 90ICAPhila9 90ICAPhila10 90ICAPhila18g 90ICAPhila9 1/12 STONE SUTRA HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More WALL TEXT HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More Installation view from 3rd floor balcony On Kawara viewing "Brash Cleaning Sutra" On Kawara visited Exit Art on 4/8/1989, opening day of "Sutra" by Hiroshi Kariya, before the public view. As this photo was hidden for a long time to expose in the public with our friendship agreement: about a decade after his death is OK. 90ICAPhila30 Installation view from 3rd floor balcony 1/11 8000YEARS HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More KABAKOV KABAKOV'S WALL DEBRIS RECYCLE FOR THE BETTER TOMORROW Sutra Tomb Collection of 13 years of work organized on 12 layered of wooden shelves, top, behind and side. The silhouette of form is adopted for the downstairs work "8000 Years of Spring, 8000 Years of Autumn". No audience is permitted enter the work, but fragmented view through the work only. ICA Philadelphia, PA, 1990 8000 Years Spring, 8000 Years Autumn Acrylic on wood (wall), acryclic on craft paper (floor). ICA Philadelphia, PA, 1990 8000 Years Spring, 8000 Years Autumn Acrylic on wood. ICA Philadelphia, PA, 1990 8000 Years Spring, 8000 Years Autumn Acrylic on wood (wall), acryclic on craft paper (floor). ICA Philadelphia, PA, 1990 8000 Years Spring, 8000 Years Autumn Acrylic on wood (wall), acryclic on craft paper (floor). ICA Philadelphia, PA, 1990 8000 Years Spring, 8000 Years Autumn Acrylic on wood (wall), acryclic on craft paper (floor). Ink bottles placed on the edge of paper. ICA Philadelphia, PA, 1990 8000 Years Spring, 8000 Years Autumn Acrylic on wood (wall), acryclic on craft paper (floor). Viewing wooden stool for the viewer to sit. ICA Philadelphia, PA, 1990 8000 Years Spring, 8000 Years Autumn Acrylic on wood (wall), acryclic on craft paper (floor), and audience viewing long bench to sit. ICA Philadelphia, PA, 1990 90ICAPhila23 Acrylic on on craft paper. ICA Philadelphia, PA, 1990 Show More GALLERY HOME 2000's 1990's 1980's PRESS ABOUT PROJECT BLOG Search Results More CONCEPT Roots of Thought 3. Ilya Kabakov's wall shall be destroyed. 7. Kabakov's wall materials shall be saved; the world's natural resources problem shall be reflected in the work. 2. The wall for Fragment Passage shall be built; all materials shall be used from the marked Kabakov's wall demolition; wood studs shall be numbered and/or used for its own wall framing. 4. This is the documentation. 9. Kabakov's materials shall be marked identify their origin. The north wall piece shall be marked with a grid in Blue chalk at four foot intervals and numbered in black to identify the original grid location. The U-shaped wall piece shall be marked in a Red chalk line and marked the same as above. 13. The shape, the dimension, and the origin shall be reflected in the work. 8. The materials available at the field shall be used. 11. The documentation shall be made and exhibited as essential part of the work. 10. Every piece of Kabakov's wall shall be installed and assembled as single pieces and groups in this exhibition. 16. Some of Kabakov's wall shall be installed inside Sutra Tomb (upper Gallery). Some of Kabakov's materials shall be numbered, sealed in a plastic bag, and sold to the public for a purchase price of a single dollar bill only, limited to one piece per person. All profits shall be used for purchasing new installation materials for ICA. The number of pieces for sale shall be determined by the amount it will cost to buy new materials for new walls. 17. The viewer shall not be able to see the entire contents of the work at a glance. They will gain the vision of a fragmented whole by changing angles. 15. The surface of the work: the form of Sutra, a fragmentation. 12. The wall shall be called Memory as Re-Member. 14. The work is dedicated to the anonymous, unknown, abandoned, buried, used, useless, ugly, forgotten, and dead. 19. This would not exist without Gorvachev, the Berlin Wall, and New York Sanitation. 5. I saw Ilya Kabakov's installation at Ronald Feldman Fine Arts twice. 6. The relationship between matters and humans exixst as part of the work. 1. Sprout. 18. Everything not included here should not be excluded. "Roots of Thought" Hiroshi Kariya / March 16, 1990, Philadelphia CONTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無

Exhibition, 1981, Gowanus Memorial Art Yard, curated by Frank Shifreen, Andy Warhol-sponsored Keith Haring. MOMA, PS 1 work, 1979 Top of Page THE SOUND INSTRUMENTS THE OCEAN CPNTACT 1980's Exit Art Gowanus Monumental THE OCEAN H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無 THE SOUND INSTRUMENTS CPNTACT H SITE PRESS ABOUT 2000 2020 ARCHETYPE 2019 TWIN CODE 双生記 2018 O.BURAKHMEDI 1990 1998 OMATA IZUMI 1998 ERIC MEZIL 1996 M.MIYATAKE 1995 A.M.WEAVER 1994 Y.KURABAYASHI 1994 S.WATANABE 1990 W.SOZANSKI 1980 1979 OTHERS BIBLIO|TEXT BIO 2022 THE NOW IS 寿限無寿限無