Studying growth ratios, tension, and dimensions, in this work I explored ideas about integrating
the object into the architectural space of the gallery. These pieces are imbedded in the wall, and in
these inner spaces are metal wire weavings of patterns using the golden ratio.
These pieces are part of the
Verge Series created in 2008.
This work is an exploration of the
magnetic oil, ferrofluid, consisting
of small particles of iron floating in
a surfactant. The fluid spikes-up
when it is in contact with a magnet
showing the path of the magnetic field.
Ferrofluid’s magnetic suspension and attraction, tension, and
order seem constantly on the verge of chaos and
unpredictability. This natural persistence of order inspired
me to create a series of sculptures called Verge, where I
explored tension, growth ratios, and order.
Improvised installation in an empty room
at the second floor of P.S.1, NYC
Collaboration with Hagit Barkai.
In 2009 Hagit Barkai and I were visiting P.S.1
and as we strolled through the galleries
on the second floor, we found an empty
room. I immediately saw the opportunity
to make a guerilla installation. Luckily we
found a ladder stored in a cubby of the
room. We flipped it and Hagit pulled out
two cigarettes and wrote on the wall-
"Make your own luck."
N [pronounced nnn] was a 3.8 cubic feet exhibition space in my freezer.
This space was conceived of to provide artists with a colder and smaller
venue for experimental exhibition.
This project yielded two exhibits Cooler than Usual and Soul on Ice. The
project still lives through it’s satellite mini-fridge space, The Kenmore,
managed by Emily Sloan.
Cooler than Usual:
Frozen works by
eleven local artists
on December 2009.
created were to be
exhibited in this
Aisen Caro Chacin.
Soul on Ice:
By Ryan Perry on February,
Drawing inspiration from
Eldridge Cleaver's book,
"Soul on Ice", Perry created
ice speakers for a time
based sound installation
that examines the
resonance of soul/the soul
within the unstable
medium of ice.
Aisen Caro Chacin
This exhibit at my apartment was inspired by all
birthdays in the month of February, I asked all artists to
change their Facebook birthdays to the opening date of
the show in 2010. This made our guests a bit confused;
some of them brought gifts, and they were displayed as
part of the exhibition.
Artists were also asked to bring a cake,
cupcakes, or pastries to be collaged
together into a diabetic’s nightmare.
Luckily we also had beefcake.
Sexo Grande by Stephanie Saint Sanchez / Earthwake by Tito-Fabian
Elia Arce missioned me in April 2010 to curate a Latino exhibit. I selected a
group of uprooted and acclimating emerging artists to engage in dialogues
with selected established curators, critics and artists, Surpik Angelini, Elia
Arce, Margarita Cabrera, Aisen Chacin, Ruben Cordova, and Delilah Montoya.
The work for the exhibition was created from these dialogues that both
subversively and romantically embrace Latin classification as
a point of departure to investigate historical and current geography. At the
core of these dialogues lies the need to move beyond traditional categories
of Latin American and Latino Art and to frame new definitions, visual
languages and creative practices among these artists in Houston. La Lengua
Muerta yielded visual and performance works to be as diverse (inform,
subject, aesthetics, and influences) as being Latino.
Daniel Adame, Chuy Benitez, Aisen Caro Chacin, Claudia Cruz,Tito-Fabian, Sebastian Forray, Jonatan Lopez, Angel Quesada, Stephanie Saint Sanchez, Alex Soares.
Installation for La Lengua Muerta, paint 2010.
It began with wanting to fix the deteriorated floor of
labotanica. I wanted to preserve its history, yet add
another layer. The boundaries between the linoleums
and the barren concrete reminded me of the
territorial divisions recorded in maps. In constant flux,
the frontiers of this crumbling linoleum are a record of
their migrations of people, who, in their wanderings,
have unwittingly changed the lines. I decided to
homogenize the identity of the floor by assimilating the
pattern of the dominant (and most recent) linoleum tiles.
I recreated and stretched this identity over the
piso (floor) mestizo with painted lines over the other layers
creating a subtle illusion of continuity. It marked alien
territory as its own, but it didn’t erase its history.
Then it became about conquering space and territory.
An impromptu pastiche of visual, performance and sound art. This show was inspired by
the concept of Supersymmetry where all particles have an invisible superpartner.
There was no scheduling performances, it was all shown simultaneously. Performers
themselves keep their own time. This approach to performance allowed for impromptu
collaboration and improvisation. The installations were presented as a
platform for performers to interact and become part of the work. The
superpartners became visible to the audience in the instances of
supercollisions, where the collaborations split and rearrange.
This show was presented at The Foundry on July 30th, 2010
Conceived by: Aisen Caro Chacin
Organized by SuperColliding-
Aisen Caro Chacin, Naz Fallah, Melanie Jamison, and Alex Tu
Photothermins on a projection of a primary number binary search program written in BASIC.
Collaboration with Jack Hukill.
In 2010 Jack Hukill wrote the program, and I built the photothermins.
I saw Jack's program as an opportunity to create a digital music box.
Photothermins have a light sensor called a photo resistor. This component
captures the difference in frequency of light, so when light passes through
the circuit it is translated into sound. The pitch of sound changes
depending on the variance of light.