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by Cultural Tutor:


 "I think therefore I am" is probably the most famous line in the history of philosophy.


 But it's a misquote.


 Because René Descartes, who came up with the idea in the 1630s, never actually said that...

 First, who was Descartes?


 René Descartes (1596-1650) was a vastly influential French philosopher who laid the foundations not only for much modern philosophy, but also for modern science.


 A key thinker in the history of thought.

Descartes belonged to the Rationalist school of philosophy.


 The Rationalists believed that reality has certain fundamental truths, an inner logic, which can be understood through intellect alone.


 In short, that reason can figure out fundamental truth by itself.

 Opposed to them were the Empiricists, who believed that knowledge comes from observation.


 Only through sensory experience, they argued, can we ascertain truth. We observe, we experiment, we learn, and we gain knowledge.

 In direct contrast, then, to Descartes' Rationalism.

 Descartes set himself the monumental challenge of proving beyond doubt that knowledge was intrinsic, that truth could be ascertained by reason alone.


 And, to do so, Descartes adopted a position of "radical doubt" - he doubted everything that could possibly be doubted...

 The idea was to be skeptical of any claim that could conceivably be untrue, and therefore to discover whether there existed any claim which was absolutely undoubtable, absolutely certain, and absolutely true, through reason alone and without empirical observation.

 Descartes imagined a powerful "demon" which could create an illusion of reality.


 This demon, Descartes reasoned, could have created a sort of Matrix in which nothing was actually real, in which even mathematical truths (2+2=4) were false, all through deception.

 In the face of this demon, how could we ever *know* anything at all, how could we be certain of any truth?


 You or I could just be a brain in a vat, after all, and everything we see around us purely imagined, like a dream.


 That *could* be true, and so Descartes assumed it was.

So Descartes dug himself an existential hole. He was overcome by crushing doubt as the world seemed to crumble around him.


*nothing* was true

 He realised that every possible belief could be doubted, and by accepting those doubts, he put himself in the position of believing that *nothing* was true.

   -*As the concept of existence can be said to be artificial, and they exist at the same time as the world. Existence is a concept solidified in representational language. The truth of the artificial concept, including its errors, Truth is also all in the name of existence, and as long as it exists, the concept of good and evil, righteousness, super villainy, and so on. as a means including negative concepts, and so on, if under the name of existence at the same time as the untrue story, they are one cornerstone of the inevitability of existence. Because everything is included as everything, so nothing is left out. For that reason, I will write today that "*everything* is true.

"Hiroshi Kariya 11/3/2022-

 In this way, Descartes became something like Auguste Rodin's famous statue, The Thinker.


 Although usually seen on its own, from the large cast made in 1904, The Thinker was originally part of Rodin's The Gates of Hell.


 An apt allegory for Descartes' radical doubt:

But then, when he got to the most fundamental belief of all, Descartes found the light.


 The act of doubting was, he realised, only possible if a being existed to do that doubting.


 And so, as he wrote: "I doubt, therefore I am — or what is the same — I think, therefore I am."

 Now this is where it gets tricky. Descartes wrote in French and in Latin.


 In 1637 he wrote: je pense, donc je suis.


 And in 1647 he wrote: cogito, ergo sum.


 Both of them are usually translated as "I think, therefore I am". But that isn't quite right...

 In translation it isn't necessarily clear how either of those phrases should be written in English.


 Because, in English, you've got two forms of the present tense: the perfect and the continuous.


 It's "I think" versus "I am thinking", which have different meanings.

 Now, Descartes wasn't trying to present a logical, syllogistic argument, where a conclusion is drawn from propositions that are assumed to be true.


 Instead, he was presenting a fundamental, undoubtable truth which doesn't rely on any other assumed truths.

Consider this:


1. All flowers have petals.

2. Roses are flowers.

3. Therefore roses have petals.


That's a syllogism. For Descartes' idea it might be:


1. Only something which exists can think.

2. I think.

3. Therefore I exist.


But that's not what he was going for.

 The point is that the act of doubting whether or not you exist (doubting being a form of thinking) necessitates that you must exist in the first place, otherwise there's nothing to do the doubting.


 And, crucially, it is the *act* of thinking that makes this true.

 Think of it as the difference between "I play football", which you can say at any given point regardless of what you are doing at the time, and "I am playing football", which means you are doing it right now.

 And so, Descartes realised, to say "I am doubting (a form of thinking)" necessitates that you exist while you are in the act of doing it, without the need for any other assumptions, without the need for propositions and conclusions.


 It is, on its own, simply true.

 Perhaps the best translation, then, is something like:


  "I am thinking, therefore I am."


 Or, in a fuller form, as written by the philosopher Antoine Thomas in 1765:


 "Since I am doubting, I am thinking; since I am thinking, I am existing."

 Many philosophers have taken Descartes to task.


 Søren Kierkegaard, among others, pointed out that the "I" in "I am thinking" presupposes existence in the first place, thus making it tautological and removing the need for saying "therefore I exist" at all.

 In the words of Pierre Gassendi, who first noticed this problem, Descartes should have said "thinking is occurring".


 Nietzsche also thought Descartes' doubt was incomplete, as he hadn't doubted that "I" or even that "thinking" might exist.

 And yet many of these criticisms feel more like refinements of Descartes' original idea than departures, improvements rather than disagreements.


 His journey through doubt to certainty led to a fascinating idea which has held sway over philosophy and popular culture ever since.

 And that, in so many words, is Descartes' Cogito, as the idea has been called.


 And, if nothing else, it is a fascinating linguistic story of the vagaries and challenges of translation, and of how language informs the way we think.


 (Or, perhaps, the way we are thinking...)




 「吾思うゆえに吾あり」とは、おそらく哲学の歴史の中で最も有名な行だと思います。 しかし、それは誤った引用です。 1630年代にこのアイデアを思いついたルネ・デカルトは、実際にそれを言ったことがなかったからです...


 まず、デカルトとは誰? ルネ・デカルト(1596-1650)は、多くの現代哲学だけでなく現代科学の基礎を築いた非常に影響力のあるフランスの哲学者。 思想史における重要な思想家でした。

 デカルトは合理主義哲学学校に属していました。 合理主義者は、現実には特定の基本的な真実、知性だけで理解できる内なる論理があると信じていた。 要するに、その理性はそれ自体で根本的な真実を理解することができます。彼らに反対したのは経験主義者で、知識は観察から得られると信じていた。

 彼らは、感覚的な経験を通じてのみ、真実を確認できると主張した。 私たちは観察し、実験し、学び、知識を得るのだと。



 デカルトは、知識が本質的であり、真実は理性だけで確認できることを疑いの余地なく証明するという途方もない挑戦を自らに課したのである。 そして、そうするために、デカルトは根本的な疑いの立場を採用した-彼は疑わしき可能性のあるすべてを疑っていたのである...


 デカルトは、現実の幻想を作り出すことができる強力な悪魔を想像しました。 デカルトは、この悪魔は、実際には何も本物ではなく、数学的真理(2 + 2 = 4)でさえ偽である一種のマトリックスを、すべて欺瞞によって作成した可能性があると推論したのである。






*何も* 真実なものはない
























刈谷博 11/3/2022

 このようにして、デカルトはオーギュスト・ロダンの有名な考える人の像ようなものになるのです。 通常は一体で見られるが、1904年に作られた大規模なキャストから、考える人はもともとロダンの地獄の門の一部であった。 








1637年に彼は:je pense、donc je suisと書き記します。 





















 重要なのは、自分が存在するかどうかを疑う行為(思考の一形態であることを疑う)は、そもそもあなたが存在しなければならないことを必要とし、そうでなければ疑うことは何もないということです。 そして、決定的に重要なのは、これを真実にするのは思考の*行為*であるのです。



 ですから、デカルトは、私が疑っていると言うことは(思考の一形態)、あなたがそれをしている行為の間、他の仮定を必要とせず、命題や結論を必要とせずに存在する必要があることに気づきました。 それ自体は単に真実です。







 多くの哲学者がデカルトを任務に就かせます。 セーレン・キェルケゴールは、とりわけ、私が考えている「私」はそもそも存在を前提としているため、トートロジーになり、それゆえ私は存在すると言う必要がなくなると指摘しました。



 それでも、これらの批判の多くは、逸脱よりもデカルトの元のアイデアの洗練、意見の不一致ではなく改善のように感じます。 疑いから確実性への彼の旅は、それ以来哲学と大衆文化を揺るがしてきた魅力的なアイデアにつながりました。

 そして、それは、非常に多くの言葉で、アイデアが呼び起こされるような、デカルトのコギトです。 そして、何よりも、それは翻訳の気まぐれさと挑戦、そして言語が私たちの考え方にどのように影響するかについての魅力的な言語学的な物語です。 (または、おそらく、私たちが思考する方法なのです...)


 Me Invent We

 The characters, of course, myself, theories and stories that I have never heard of, stories such as “truth”, of course, undoubted “belief”, sights I have never seen, events I have never experienced, memories I have never experienced. The inseparable sequence of Π numbers, the story that the ⛩ shape of the shrine originated in the Sirian language, and the "moment" when I "thought" and "knew it" had "already changed" and written it down like this. Also, the role of myself, who is confused about "who is the front of the face" reflected in the mirror, is entirely self-made and performed.


 For the sake of the fruit of my experience, I chose that place and time, and I am having an experience that I am not completely enlightened by, even if it is a chance encounter, I am aware of the inevitability that I have chosen.

 No matter what path you take, the destination is "the", "the" is now, and continue to be aware of it, play the sound and listen to the sound, become the audience, play it. The self dissolves in that one frequency, which is the alter ego that does.

 "Originally, it didn't go anywhere, it had no beginning or end..."

 However, it is already "the" is now. "the" is this "description", "action", "you" who reads this, and everything else that cannot be written here, still with all at the same moment "the" is now. "The" is "Love" is now.






 いずれの道を通っても、行き着く先「その」在、「the」is nowを記述し意識半ばに生きている、音を奏でその音を聞いて、その観客、それを演奏する分身である、そのひとつの波動に己は溶解する。


 然も、既に、それではない「the」is now である。「the」はこの「記述」、「行為」にのみ現れ、読む「あなた」であり、われであり、他のこと一切、同時にある「the」is now である。「the」は同時ひとつの 「愛」I である。

2020 Anything I Choose Is Positive, Everything Is, Positive Is.


The work "OSDLM 2017" is a collage, of a handful of daily works of "Seed Sutra", on a transparent plate. There are two layers, one on the front and the other on the 2nd layer behind, with seeds on the front and data of the work, instruction, quantity, location, mistakes, corrections, rewrites and fabrications, are behind. All is called creation or fabrication, you name it.

Hiroshi Kariya, OSDLM2017, Assemblage of Seed Sutra, Mizuma and Kipps, New York, 2020



Boris Groys :

   "If what is called life is recorded only narratively and cannot be presented, how such a record is exhibited in the art space without distorting its qualities. Is it possible? In many cases, art documentation is presented in the context of the installation, but the installation is not only the images and texts, other objects installed on the spot, but also the space of the installation itself.

   It is an art form that plays a decisive role. This space is not abstract or neutral, but is itself a form of life. Thus, the documentation is an act of writing oneself into a particular space. Forming as an installation is not an act of neutral exhibition, but an act of storytelling in the dimension of time, so to speak, an act of writing to life, "said *Boris Grois.

 * Boris Groys "Art in the Biopolitical Era-From Art Works to Art Documents"

  (2002, via installationia-blog)

"2020  「"The" Is Now」 Writing

    In it Kariya records traces of life. His work uses news articles and events that tells the historical background of the production as a "Sign of Time". At the same time, he describes what the life is in his three letters "the is now", which began in 1977. These three letters are the one "Consciousness" that the artist intends to exist one with all beings at the same time. And to "Focus" nothing is apart from it. Our consciousness is a singularity within all beings. The total number of minds in this world is one.

   Kariya wrote this in his first solo show Exit Art, NY in 1989, following ICA Philadelphia in 1990.

   Art is, of course, the recognition that it is free from all regulations from the beginning. We are created as one. Kariya presents in the field of art,  saying "Art is a form that transcends temporality, partiality, and eventuality". We do not have to scream out for our freedom, a trap that the dictator's using our believing system to controll ourself to focus voice out. We were born free no matter what, unless you giving up your potential almighty power in the universe.

   Well, the illusion and reality may be reversed when it comes to seeing it that way. Everything one tries to resonate the void with the holographic reality of "the" is now is "the now is" "the" is now is "now" the. With only one mind is existing, we all have access to all knowledge within our DNA, it is time to re-member our true mission to get here earth.


    Immortal spirits descend and dance throughout the universe.


   -About The Composition-
 "The is now" is used as a code that connects all. The three letters reduce, conclude, and persist in the sense that they are their own directives and their own creations. The three letters are structures that simultaneously present the structure of the trinity of "subject, phenomenon, and self-existence." Kariya experiences an infinite reality in the act of continuing to describe. What is the subject, what is the phenomenon, what is the existence, these eternal imputable links. The descriptive body "the, is, now" is a tool for acting and observing. The description invites us to an endless loop of begins and ends of inquiry. In the middle of the act, based on a movement of practice that transcends the real world and illusion, it floats in the immortal void between the ambiguities of the source.

   -About The Face Sutra-
work presents the surface as a "structure". The front is the reverse side, that is, the secret, the explanation of the background, as hidden side is the constructed surface that induces the prejudice of the audience, implying that it is an imprinted definition. It presents that surface is a superficial story, and representation is an explanation by traces of "existence."

Figuratively, the process of making called "story" is intentionally left on the surface as trace evidence of the description. The work is presented in the process of action, that is, a passage of life. And what is included in the making process is the relationship between matters and events, that is, everything in the world. Here, another aspect of the work, the state of observing the world. This is due to social information, paying attention to all the social backgrounds hidden on the surface such as acts, operations, illusions, mistakes, recognitions, misunderstandings, inactions, deviations, learning, playing, etc. , The illusion of observing it is presented.


    -About The Armory Piece-
   Kariya added the statements "Law and Order / His" to the exhibition of additional works at the 2019 Armory Show. His paintings come with a myriad of shackles, backgrounds, support of all beings. The following definition is presented there. What is called "wrong", "correct", "accidental" or "necessary" is just a manmade sign. All at the same time is described in this phrase "the now is". Kariya examines the basis of the dialectic of creation, which goes back and forth between objective and subjective, artificial concepts and realistic mechanisms in the structure of creation and fiction.

  At the solo exhibition "Archetype" this spring, it was a enlarged photo documented of a "face of the time" exhibit, as apart of show in which the audience was asked to wear a face mask arbitrarily, but the exhibition was closed early with the arrival of COVID19 April Fool. The enlarged image source of the face is a cutout and pasted on the seed, that was randomly selected from a daily newspaper articles.

   Everything is inevitably exposed. It also includes what you do right or wrong. If the audience happens to encounter a three-letter gap that they find by chance, that gap may be the three letters of prayer if we can tolerate the mistakes of the brushes of the criminals in society, as if we were to encounter the drips of the paintings that we happen to see.

ボリス グロイス: 








 (2002, via installationia-blog)


 ー「"the" is now」の記述ー

 刈谷のそれは「書き込み」が生命そのものであること、存在であること、それを観察することを指し示す。作品には制作時の背景を肩書きする報道記事や事象などが使われる。作家は自身と全存在のひとつの「意識」を三文字「the now is」の記述行為に構造化する。三文字は指示者、物質、記述行為の三つを示し、それらが同時ひとつの意識として具現化の一致を証する仕組みである。「この三文字が全存在の同時を宣言する符号」意識が作品の創造をもたらすのである。そして、この構造用法を道具として「存在情報」を観察する風景を提示するのである。


 これは仮想と現実を逆転させる自らの仕掛け方法の実践である。つまり、ひとつの虚空から発す現実に「"the" is now」の仮想現実を自らプログラムを設けるのである。ついには、自由奔放の邪魔だて捏造の筋書きを体験し創造者である己の技が己の内側にある、そこに至る生を、観察するのである。


 ー「"the" now is」の同時ー
 「”the” is now」は虚空仮想具現瞑想する糸である。 三文字は存在もせず、意味もない、虚空の系である。三文字はひとつの実現、存在表明意図を説明する。三文字は「主体、現象、存在」の三位一体が同時に在り、ひとつの意識を示す構造体である。 作家は記述行為に不滅の現在を実践する。 本性、現象、存在すべてがひとつの意識、永遠未到の不可思議想空を実践する働きである。世界記述「”the” is now」は、意図、創造、行為の観察者を瞑想する道具である。 記述の真髄は実践虚空始終不滅波動同時に存在する。 実践波に同調し、現実世界、幻想、不空因果不滅あやふや忘惑も含有一体に自由浮遊するのである。

する。表面とは表面性の物語であり、存在とは「存在性」の痕跡による説明を受容するに過ぎない。比喩的に「物語性」という制作の経過を記述の痕跡証拠が故意に表面に残されてある。作品は行為の途上、つまり生命の説明として提示される。そして制作プロセスに含まれるものとは、 事柄や出来事、つまり全世界のあらゆるものとの関係を示すのである。作品の側面はここで世界を観察する現在として浮上して来る。表現はそこで社会情報に起因することを指差し。作為、操作、錯覚、錯誤、認識、誤認、無為、ズレ、学ぶ、遊ぶ、など隠れた一切の社会背景、総元締、ひとつ意識を提示するのである。



 刈谷は2019年のアーモリーショウで「法と秩序/彼の」という文章を姉妹作品の展示に添えた。絵画の場には無数の葛藤、背景、経緯のしがらみの痕跡が残されている。「視点を変えよ」という。「間違い」または正しい、偶然、必然、意味、無意味、それらは人工の記号である。全ては虚を思うが如く同時に「”the” now is」の下に検証されるべきである。作家は、創ること、虚構の仕掛け、客観性や主観性、概念と表現の間を行来する。筆の誤り=絵具の滴り、文字ズレ=人生の誤り、既




2019 Hidden Trap Or Hidden Message How It Was Set Up


The work is made as a document of making, with foot note directly left on the surface as painter’s brash stroke. It is in-facts as whole story was left on the surface under artist’s law and order, whatever is. It is to investigate wether we find any truth or just magical illusion of fabricated truth on the surface. What you "BELIEVE" is what is truth at that moment, but all is always changing as a state of constant influx.So is truth is no longer there, any more. Did you get it? or just you forgotten all. That is OK, get the another one. Don't stay on that line, proceed, or get rest sleep at night.

Hiroshi Kariya “OSDLM 2018 Mother” The Armory Show, New York by Mizuma Art Gallery


2019 It is to create the illusion of Trap to manipulate your illusion
Combine with Face Sutra and Seed Sutra. The work is made as a document of making, with pasted face articles cutout, as sign of the times collaged. The surface presents as painter’s sign of the time strokes. It is to create the new magical illusion on the surface. And all is changing, all is right.

Hiroshi Kariya “OSDLM 2018 Her Children SR” The Armory Show, New York by Mizuma Art Gallery


2019 Turn Your Project Plan Page 164 to 461

The work is an installation composed of situated photographs: facial specimens are lined up in a transparent bookshelf storage, image covered with the entire wall. It is the library shelves, and each container has numbers of face masks lined up. The storage is transparent, the groups of faces situated on another layers of the containers behind. The arrangement of faces is casual and lying arbitrarily. Each facial expression captured in a snapshot, set to be an emotional, sentimental, or inquiring, otherwise transparent, prison-enclosed expression. All is you, sometime, in some where in another time line a million years ago, you just forget all. but you experiencing every matter of almost everything, individually to experience for the each character, species, but not all at once for the experience them all but individually... did you get it what is the all plan about? Turn the page.

Hiroshi Kariya, “Archetype”, Mizuma and Kipps Art, New York, 2019


2018 Dream is reality, Reality is a programmed illusion

Olga Burakmedi, Independent curator/ @artkukhnia

Kariya Hiroshi says that the code is in “the index to point what is the illusion and the index to point what is the reality”. This world is a twisting the reality and art is trying to bring you back to awareness to differ the illusion from the reality. The code is not out it is inside you.

Olga Burakmedi, “It’s all about the one piece, and millions of others, Mizuma Art Gallery, Tokyo, 2018


2018 We are all from the same source, we are the source

His “the now is” written each day for the amount of a handful of seed pasted the same Palm-sized transparent acrylic, one day “the now is” in the day, along with, we actually see in the Gallery of a myriad of the acrylic is the iterated accumulation. Seed flock while painting with acrylic plate of every different pattern as a whole come a huge movement of small particles.

Another part of this exhibition series, entitled “Face Sutra” further also were on display. Human face news photo article image were collaged on the surface of the each seeds, and pasted on the acrylic, while on the other side “the now is” or “else” was written.

Shinichi Takashige, Real Tokyo review, 1/13/ 2018












2016 🔺
























2014 🔺


カタログ よろこんでくれて嬉しいです。
今日読み終えた本 のブックカバーの写真送ります。添付ご覧下さい。

Nさんの件ありがとうございました。彼は以前NYで弁護士をしていてコレクターだったそうで、9.11以後,大学に入りなおし今Hauston の美術館の写真部門のキュレーターをしているとのことです。



Canal street _edited.jpg

359 Canal St 3階刈谷博のスタジオ。ナムジュンパイク、靉嘔、折本立見、仏原和義経由でフィクスチャーフィー(改造費)を支払って買取ったスタジオ。トランプマネージメントが家賃の支払先だった。上4階に柿崎せいじ、エリザベス、ミカ(子供)、1階がプラスチック屋。ディック・ヒギンズが2階に住んでいたらしいFLUXUS発祥の地である。

























H、メールありがとう。温さんのNews僕もDUsseldorf で7月11日友だちの電話で知りました。
5月Newyork に行ったとき癌で患っているとは聞いていました。奥さんの博子さんが看病していると聞いていました。
ひとつの時代の終わりを感じます。昨日大阪国立国際美術館で温さんの I am still alive の電報を見ました。そのうちの一つは僕がDusseldorf の僕のスタジオの近くのPost に付いていって送ったものでした。

ではお元気で。温さんのTwitter 未だ I am still alive やっているそうですよ。
(14/08/02 0:46), hiroshi kariya wrote:









早すぎるよなぁ!…81か、I AM STILL ALIVE はこの日の為の作品なのか…









NYTimes: On Kawara, Artist Who Found Elegance in Every Day, Dies at 81

6/21/2014  ​Kの初ニューヨークメモ・記憶補足のエピソードー


 Kにとって初のニューヨーク訪問、翌日だったか、「緊急」と大きく書いたアラナ・ヘイス宛ての資料を用意した。そして PS1に案内同行した。事務員にカタログとレターを同封した封筒を残しただけだった。翌日急遽、まさかの「部屋が一つ開いて いる、滞在中、作品を作れるか?」と電話が入り決まった展覧会だった。PS1での一年前の私の水と音の作品 を知っている アラナはオープニングでの会話「圭二の作品は既にヨーロッパで見ていて知っていて興味があった。だが、あの”EMERGENCY”の大タイトルが無かったら、今回は恐らく見落としチャンスを失っていただろう」と。


 翌日から早速作業開始。材木はリチャード・ノナスのスタジオ訪問したさい紹介をうけた材木屋に手配し、 ジャッキを キャナル街の雑貨屋さんに注文(日本製だった、私のスタジオに現存。来年の展示で使用する予定)。その間に河原温、篠原牛司男、川島武などに会い、359キャナルのスタジオでパーティーを開催、ゲーテハウスから幹部の方3人、作家のウル フー・カーレン、 ヨゼフ・アーベン、インゲ・マン、刀根康尚など50人ほどが集まりました。そしてインスタレーション無事終了。オープニング は(アラナはKの手を握って離さず)盛況という大忙しでした。


 展示終了後、作品は私が解体し359キャナルのスタジオに持ち運んだ(この359キャナルはフルクサス発祥の地、アイ・オー、ナムジュン・パイク、ディック・ヒギンズ、折元立身などが居住)その後、木材はブルックリンの現在のスタジ オに移動、いまは台所のロフト上階を支える柱に変容している。

PS1、Room 203の作品はNOMAARTエディション見開きページに掲載。

(PS1 の展示写真は私の安物カメラで撮ったもの)

モノ派 は有名で、日本人作家もっと出てもいいはずですが、緊張感を視覚化する圭二の来年の展示が楽しみです。K


2012 0605 1060 The body of microorganisms is an enzyme 

The appearance of living things is only the result of the enzymatic state. We see the existence of microorganisms as a "state" rather than a physical existence. In human society, there are innumerable people stochastically, but the essence is only a state, and the individual existence is only a result. This is the human dialectic


2012 0605 1059 Insurance, Pharmaceuticals, Doctors Trinity 

In the United States, insurance companies, pharmaceutical companies, and doctors are the trinity. I'm making illness for their work. In fact, you once played the medical party and killed a lot of people. This world is a virtual world.


2012 0102 1019 You won't die 

You will not die. "Death" is a delusional concept created by humans and is a brainwashing mechanism to keep you in a prison of control. Your essence is a "spirit" and an "immortal" life that cannot die. Matter also changes, its shape and properties change, but it does not disappear.


2012 0102 1018 You are human now

Playing a human. It is holy being forever. In order to notice and overcome the current anguish, for a short while in the book, You create a detailed program that leads to the background and assignment, submit it to your higherself, and experience it with consent. The result is another thing, including them, experiencing life. The purpose is to study and experience the physicality for the higher level. The earth is the best place to experience for that purpose as level 3 thru 4, 5.


2012 0102 1017 This is the part inside you

The fact that he is the master, the higherself, and the master is also part of you. Highest is sending signals to remind you of the part of the master in you. Highest is trying to show it as a mirror. It's a big movie in which higher one play everything, because it's not interesting if it's easy to understand, and the experience is meaningless, so he/she dare not understand it, and as a result of various trials and errors, he/she may finally realize the memories.


2012 0102 1016 You created the universe

There is a person named Sai Baba in India, who says he created the universe. Yes, to remind you that each and every one of us here has created the universe. he/she wrote now, in fact, when he/she read this now, and time is a delusional thing, a fabrication to rule. It's the same as the structure of a movie set, filled with real, mysterious formulas, big life-size.


2012 0101 1015 Crazy theory dream

A dream is a reality while you are in it. In a dream, it's a real reality. While you're in a dream, you're taught that it's a solid reality, and you believe it's a reality. Do you believe it's a dream? A pulse of electrical signals is set in the DNA. Your will pull out the DNA data and re-arrange to solve all problems.


2012 0101 1014 "Forget and remember yourself"

"Forget yourself and remember" you are more than an idea. What you think is there. You can do everything by deciding on the truth, the core, the heart, and the faith. But if there is a slight suspicion, it won't happen. That's what it means to Higherself. Not realized at 0.♾️00000000000000001%


2012 0101 1013 "Nothing exists without you"

"Nothing exists without your existence." It's easy. You created everything. You made the characters, the events, the stories in every corner, the spouses, the children, the bad guys, the favorite events, the real thing of the big movie set, the movie, including the imagination, and false information even. You just lost your memory, but you have sense you know it.


2012 0101 1012 You created the existence

It's myself. So ... there can be no other person in your universe that denies you. Its existence in your universe exists only to know yourself. Nothing else is possible. That's why you're completely safe.


2012 0101 1011 "You changed your appearance"

"No matter what event you are involved in, you are not directly involved in that event." I'm letting you. #Existence


2012 0101 1010 You are "an event"

You are the "ultimate embodiment." The person, his words, and you who hear it all come from the core of your heart. 


When I wake up, "it" happens, "repeatedly" and "enjoy" life again. "Raw" Enjoy the repetition. In fact, "the present" is the virtual illusion. Repeat "But, but not." You're telling yourself to wake up ...



 「イオンの永い間、人類はさまざまな段階の「ネガティブ思考」という電気信号のパルスに接続されてきた。その生の仕組みを知ることの、言い換えると、記憶を抜き取られた結果、無頓着という結果として、卑劣な行為を遂行する陰のコントロールが簡単に構築されてしまっていた。」 (8)


 何千年にもわたって延々と地球の人々が仕向けられたことは、記憶への怠慢、自分自身を軽視するという誘導によって自らの経験を創ってきた。」 (1)


 「私たち以外の誰かが自分を助けてくれる、と考えるように、人間はプログラムされ、条件づけされてきた。私たちを救おうとしている者は自分一人以外に存在せず、探してもどこにも存在しない。 (4)







 「高周波密度の影響が、私たちの人生に及ぼす無数の役割を理解することは非常に重要なことである。私たちの世界が、他の密度、次元と、時空を超えて存在していることがますます明白になってきている、自分自身が別の現実にも存在していることが理解されてくるだろう。すべてのソースは自分自身であり、ここにあり、全てにある。そうでありながら、自分自身が分身として、それぞれが独自性という、独立した存在としての経験をしている経験の法則で存在するのである。自分は単独の存在のように見え、実際は、自分の知覚の限界を超えて存在する多くの現実に永遠に結びついているのだ。」この理解とは、つまりテレパシーの以心伝心という鍵に込められている。 (1)


 「例えば、自分が、自に起こっていることは全部知っていると信じて人生を生きているとしても、まったく同時に、自分自身の別の側面が自分の意識に共存している。そのような別の側面は、自分の顕在意識よりも、自分の高い周波性の密度、または多次元性でもいいですが、についてもっとよく知っていて、たんに別の波動域に同調するだけで身体を離れて活動できるのである―同じ細胞、同じ分子、そして同じ器官を 使いながら。それらの別の側面は、自分の顕在意識のもう一つの高い周波数のさらに高い周波数で観るという視点の本性、観察する昇天を持っているのだ。」 (7)


 「私たちの独自性の一部分が「現在」に強く焦点を合わせていることは事実としても、素粒子レベル上の意識は、「非局所」の存在として現実を体験している。つまり空間や場所を隔てる壁や境界はないのだ。「非局所」とは、あらゆるところに同時に存在すること、すなわち万物すべてに偏在することを意味している。自分の細胞が予知能力を持っている理由はそこにあるからだ。自分にとってすべての瞬間が重要です。それは無数の選択の可能性を含んでいるからである。人間の思考でいう重く、研ぎ澄まされた、堅苦しさの全てを解き放ち、ゆったりと遊びなさいということなのだ。」 (7)











1998 We Should Erase All Fabricated History, Social Info

It is certainly this consciousness that Hiroshi Kariya animates his work. He engraves the names of the genocide scenes being exercised in the world on a black slate plate, which has already healed in the fact that they become news articles and that the articles are cut out. It may have been slaughtered. However, Kariya physically perceived the weight of suffering by recording it in a format at the same time as his sutra, and tried to make this series of actions a prayer to relieve the pain that now tears our planet. is. It is immortal because it is not "coming" but "its present" its continuation.

Izumi Omata, ”Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998

1998 All Given Titles Are Made-up, Imprinted False Info

Eric Mezil, Directeur du musée Collection Lambert

Hiroshi Kariya's method is, He accumulates passes, sometimes he retains only The title, cut in newspapers whole world events and sticks these words on slates of school chalkboard. On the reverse side, he writes a small sentence in white chalk that will inevitably fade over time. "Now is the now is the now ..." is a lifetime motif in all of his work. For many years he has chosen to live in New York, and like any immigrant, he feels concerned by the problems of his country but also by every drama that taints the world well beyond the archipelago.

Eric Mezil, "Now, THEN, SO WHAT !” Contemporary Art of Japon, ENSBA,1998


1997 Fact

I am still writing “The now is” sutra.

I am still wondering about it. 


1997 "What Is Not Here Is Also One Thing"

Takashi Kitakoji, Review on Hiroshi Kariya "1996 Sutra" Exhibition

If a person with no preliminary knowledge visits the gallery in the afternoon, he will not be able to read the letters "the now is", which covers the blackboard as usual, and will probably understand that they are unknown foreign languages on vague grounds of the cut-out of a 1996 newspaper article on the back of the chalkboard - the disasters in Bosnia, Rwanda, and elsewhere.  So why is this blackboard appearing here? If I would ask him "Is this Sarajevo ruin here?”, I assume that he would not say yes to it. Then, the ruins placed here are speech-loss. “What is here is one thing: that is everything… nothing exists apart from that” (quote: H. Kariya)

Takashi Kitaoji, BT7/97 Page 152, 1997


What is here is one thing:

that is everything,

nothing exists apart from that:

Your inhale and my exhale are parallel:

My inhale and your life is parallel:

Clouds move, we all are in parallel:

Our breathing move the Sun in parallel:

My writing "the now is" is and all others in parallel:

"The now is" in here and "the now is" elsewhere is parallel:

My erasing chalk writing and my garden sprout in parallel:

Without needing to know all, nor ignore all is parallel:

The wonders of this world and the tabletop dust are parallel:

that is everything,

nothing exists apart from that.

Hiroshi Kariya, 1977, 1987, 1997, 2007, 2017









私の「the now is」記述は、他のすべてと並行します:

この「the now is」と、他の「the now is」は平行します:







それら全てと同時に「the now is」を記述します:



1996 Counting The Illusion Of One Counting

Planting the seed of an idea in the here and now

“...Kariya writes “The now is sutra” on both sides of a dried bean, going through about 100 beans every night before going to bed...with notes of his daily thoughts… Based in Brooklyn, N.Y., his open poem was first in English;

One piece of Brahma Day

One piece of “the now is”

One piece of 8,640,000,000 years

104 pieces”,

 Miki Miyatake, The Japan Times, 5.1, 1996

1996 Evidence Of Reading The False Titles And Stories

I am still reading ‘The New York Times’;

in different date, in different name, in different place, in different print.

I am still reading ‘The New York Times’; in different words, in different pictures, in different stories.

I am still reading ‘The New York Times’; in different titles, in different times, in different killings.

“1996 Sutra”; (news title sutra), typed on paper, 1996


Words are “produced and exist, so also our presence that the world has existed”, yet I could live without it.


If you have observe the detail of Kariya’s “Chalkboard Sutra”, you will recognize that the writing on this work is not freshly written but layered, written and erased over and over. The chalkboard as media; writing on a

whitish half-clear surface, as it is difficult to erase previously written words perfectly. I think everyone recalls, with this sort of chalkboard image, the memory of school life in childhood.


“Chalkboard; 10 Years later, Chernobyl”

acrylic on masonite+chalk+eraser, collage on reverse side, 1996


1996 Chernobyl In Japanese: Yomogi 蓬

“Chalkboard: 10 Years later, Chernobyl” reverse side of work

To enter the gallery floor… is my chalkboard… My foot to enter… My hand to chalk proceed my life…

To enter this life… Proceed my chalk writing… To exit my foot proceed to erase my writing… 

With my light particles creating holographic of physicality, everything no begins nor ends, but is the now.


The world is a chalkboard.

Our feet are the eraser

Our hand is a chalk

Within ourselves we built and we demolish


Hiroshi Kariya 100 Stones Outer Circle On Each Top Of Letter 100 The

“Chalk writing of “∑ 139+89 words”, and placing a daily work  of “Seed sutra”, Mizuma Art, Tokyo, 1996


1996 Making Is Fabricating Is Creating Is Breathing Is Moving Is

“The concept of ‘making’ as a Buddhist theory of composition...His creation, as well as destruction of visual form; It begins with a concept, that works through his body using feet and hands, and ends with an incredible sight of beauty on the gallery floor... his endless ”the now is” writing...”,

Toshihiko Washio Komei newspaper, 5.15, 1996



“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”



“Gallery”, weekly magazine PIA, 4.30



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



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



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



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


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






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



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


Tsunaki Kuresawa “Chalkboard Sutra with combined element, chalkboard, chalk and eraser as one 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. 



Hideki Nakamura “Art as representation of today’s mental structure”,

Hideki Nakamura, monthly art magazine BT, June



“ using discarded objects to rebuild‘Time’”,

Monthly Gallery, magazine, June



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



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



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



“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



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



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



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.



“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



“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



“Kariya’s life work theme; ‘The existence is what ‘The now is’ writing is”

Nikkei Art, magazine, July



“Open System as ‘94 Mito Annual...”

Artist, magazine, Taipei, June



Junichi Konuma “Strong and powerful, Kariya exhibits material as historical evidence and proof of its preexistence”,

Junichi Konuma, monthly art magazine BT, June



Tamaki Harada “Every event of the world is connected to our time in ‘The now is’”

Tamaki Harada, CAZ, magazine, 5.25



“as many as 100 human figure objects, wrapped in white cloth, Kariya’s caustic statement on ‘WAR’...”, 

Asahi shinbun, newspaper, 5.12



“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


“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



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



“Expression of spirit as open- minded in ‘94 Mito Annual”,

CLIQUE, magazine, 5.5



Ryoko Hirabayashi “ guide art for a higher level of system”,

Ryoko Hirabayashi , Elle Japon, magazine, 5.5



“His work examines the sign of the times, with his unique work; Journalistic Painting, Sculpture’”

Geijutsu Kohron, magazine, May



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



“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



“Sign of the times; monument of the world’s events Year 1993”

Iwate Broadcasting TV News, 4.26



Tsutomu Shimoda “...discarded object as a reference to our Karma”,

Iwate Nippo, newspaper, 4.23



Taiji Yamaguchi, “...floor filled with an enormous amount of writings in chalk, an installation, you walk on to”,

Akahata, newspaper, 4.22



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



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



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



“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



“Kariya’s performance; 100 bouquet,Candle light, Chalk writing...”

Shin Ibaraki Shinbun, newspaper, 4.2



“Mito Annual ‘94”

Shin Ibaraki Shinbun, newspaper, 4.1



Previews “Will Closed Art be opened ?”

Art News, Japan, April



Yasushi Kurabayashi “Conceptual”

Prints 21, magazine, winter 



Yukiko Shikata “Open System”

World Art, magazine, Autumn



“In Memory of 1992”, catalog, Spark Gallery II, April



“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



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



Hiroshi Kariya “Tale of Sutra; 9 episodes”,

Hiroshi Kariya, Kamaishi Shimpo, newspaper, May/June



“...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



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



“Mourning in 1992...” Art Now Japan, Mar./Apr.



“Gallery”, PIA, weekly magazine, 3.30



“As journalist’s report, Kariya exhibits today’s wounded world; Somalia, Bosnia, AIDS... in his Art: Journalistic sculpture/ painting”

Asahi, weekly magazine, 3.12



“In memory of 1992, includes 18 wrapped bodies..”,

AERA, Asahi Shimbun Weekly, 3.30, 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



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



415 Chalkboard Installation, 415 Palestinians

“Peace Before Land” Rabin

“Land Before Peace” Assad

Hiroshi Kariya, In Memory of 1992, Spark Gallery II, Tokyo



“ICA represents thousands of sutra, by Hiroshi Kariya”, 

Penn Life, news, Phil., 3.8, 1990

“Sutra Tomb”, ICA Philadelphia, 1990



“Memory: Ilya Kabakov’s wall”, ICA Philadelphia, 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



“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



“8000 Years Spring, 8000 Years Autumn”, ICA Philadelphia, 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 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



Robin Rice “Still breathing, still thinking,...Kariya’s ‘ordering’ activity that is being recorded, and that activity is a spiritual end in itself.”

Robin Rice , Philadelphia City Paper, newspaper, 6.22, 1990




One Thing In Everything: Everything In One Thing



“Begins and ends” curved stamp, ink, plumb pointing the core stamp, Exit Art,1989



“I-ching chance hexagram, the choice, the chance, the change, the season, the period, the symbol”



“the image, the title, the word”



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



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.



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.



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



“Stone sutra” curving on lime stone, 1988



“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

I am still writing “the now is”

I am still thinking about it.



“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



“Water sound instrument”, Gowanus Memorial Art Yard, 1981


John Shell “Talk of Town,....It is called ‘The’  sound”, he told us that the sound is

the meaning of time, be experiencing the time is sound...”,

John Shell, The New Yorker magazine, 7.27



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



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



“Meditation”, PS 1 Museum, 1979 (Water pool, sound, light)



“The now is” sutra


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.


“The Is Now”

“Is Now The”

“Now The Is”

“Now Is The”

“Is The Now”

“The Now Is”






“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?


“That now is”

“I am that I am”

“It is what it is”



“       “




“Real ? It disappears, but close my eyes, it appears”
























































「is the now」経三位一体①

「the now is」経三位一体②

now is the」経三位一体③




The plane will soon land at JFK.

I was looking down the world below from the dim sky.


It came from the sky.

The sky, what I mean the emptiness says nothing.


That's because they don't own the meaning of themselves.

It doesn't own the intention, neither own the image, the figure.

It doesn't own that sense of discretion.


How to explain that intention

No "cause" therefore no effect, but only "is-being" act.

Like the vision in the dream becomes the "beginning" of life works.


It was a sign of the writing "is the now" at a later date.


2012 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 あなたの中にある部分です



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」

「あなたがどんな出来事と関わろうともあなたは直接的にその事件と関わっているのではなく」「姿を変えたあなたの創造」としての出来事をあなたの宇宙に起こさせ、それらとの関わりを登場させているのです。 #是現在

2012 0101 1010 あなたは「出来事です」















2012 1440000


 @Me_We_Me_We 2012


























 @Me_We_Me_We 2012


2000     2020    ARCHETYPE

              2019    TWIN CODE   双生記

              2018    O.BURAKHMEDI

              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

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