EXHIBIT AT GALLERY MAEGHT NOVEMBER 14. 2014

•September 26, 2014 • 2 Comments

INAUGURAL OPENING OF JULES MAEGHT GALLERY

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FOR IMMEDIATE RELEASE
INAUGURAL OPENING OF JULES MAEGHT GALLERY
149 Gough Street @ Oak
November 14, 2014
Jules Maeght Gallery Presents Inaugural Show
ART IN MOTION
November 14, 2014- January 31, 2015
www.julesmaeghtgallery.com
Media Contact : Natasha Boas
info@julesmaeghtgallery.com
(415) 549-7046

Sept. 22, 2014 – San Francisco, CA. Jules Maeght, of the Fondation Maeght, Saint-Paul de Vence and Galerie Maeght, Paris, opens his first gallery in Hayes Valley, S.F on November 14, 2014 with the highly anticipated inaugural show “Art in Motion” including works by Pol BURY, Alexander CALDER, Marshall ELLIOTT, Vassily KANDINSKY, Kirstie MACLEOD, Joan MIRÓ, Clovis PRÉVOST, Tracey SNELLING and Kal SPELLETICH.

 

PRESS ON THE OPENING: http://www.nytimes.com/2014/10/26/arts/artsspecial/jules-maeght-unveils-art-in-motion.html?module=Search&mabReward=relbias%3As%2C%7B%222%22%3A%22RI%3A16%22%7D

 

Inspired by the history of kinetic art in the  collection and the fact that the new gallery is housed in one of San Francisco’s legendary inventor and machine-maker Rube Goldberg’s studios on Gough Street in Hayes Valley, Art in Motion brings together works that explore kinetic art in diverse forms. To celebrate the opening of the new gallery and encapsulating its new program, European modernist will be shown alongside Bay-Area contemporary artists whose practice involves what Calder referred to as “art that lifts figures, colors and scenery off the canvas and proves that art is not rigid”.

Art in Motion, co-curated by Jules Maeght and Natasha Boas, showcases works including video, drawings, paintings, sculptures and photographs, that contain movement, either perceivable by the viewer or that depends on motion for effect. Ranging from three-dimensional sculptures such as Pol Bury’s “Vingt-cinq boules sur dix plans inclinés, 1965” (Twenty-five Balls on Ten Inclined Planes); San Francisco-based artist Kal Spelletich’s new series of poetic wooden machines “Locally Euclidean, 2014”; Oakland-based artist Tracey Snelling’s mixed-media tableau of the Golden Gate Bridge 2012, to Alexander Calder’s ink and gouches on paper from the early 1970s and Vassily Kandinsky’s drawings from 1926, Art in Motion encompasses a wide variety of overlapping techniques and styles from the 20th century through today.
ABOUT THE GALLERY

The original Galerie Maeght opened its doors in Paris on December 6, 1945 with an exhibition of drawings Henri Matisse had made during the war, and immediately became the epicenter for modernist artists and writers. Aimé Maeght, the gallery’s founder and a publisher of limited-edition artist books, began his art career in the South of France with his wife Marguerite.
The Maeghts had an unparalleled eye for quality, combined with a skill for nurturing and promoting new art and artists. These essential qualities secured their position as perhaps the most respected and influential advocates for art of their time. From 1946 onwards, such artists as Bonnard, Braque, Calder, Giacometti, Léger, Rouault among many others became part of the gallery.
Seminal exhibitions such as “Le Surréalisme” curated by André Breton and Marcel Duchamp in 1947 changed the course of art history and exhibition-making. In June 2014, the Maeght Foundation in St. Paul de Vence, founded by Marguerite and Aimé Maeght in 1964, and now entrusted to their son Adrien Maeght and his children, celebrated its 50th anniversary showcasing its world-renowned collection which includes some of the most important oeuvres of European Modernists.

Jules Maeght, Adrien’s son, a specialist of art editions and publications, opens his first gallery in San Francisco later in the same year 2014. Pioneering and exploring new vistas, Jules Maeght continues the Maeght family legacy of passion, adventure, and a commitment to artists and creative experimentation in the new Hayes Valley San Francisco gallery. Along with his partner and wife Amelie, the next Maeght generation will work to combine modernist artists alongside contemporary Bay-Area and international artists with provocative and engaging new exhibitions and programs.

GALLERY LOCATION: 149 Gough St. – San Francisco – CA 94102
GALLERY HOURS: Tuesday through Saturday 11am to 6pm
CONTACT: Amélie and Jules Maeght – info@julesmaeghtgallery.com

September, 2014 Cologne, Germany

•August 11, 2014 • Leave a Comment

Hallo!

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I am in an exhibit in Cologne at the very cool Robodonian Festival. http://www.robodonien.de/

I am bringing a new sensor based and trigger robot. It will rebirth another very flammable robot.

See below-

Danke

k

 

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Here is my proposal;
I propose to build a 3-6 meter tall articulated robot arm, in the manner of an industrial robot, but out of wood and found objects, as well as hardware I will provide. This robot will be positioned in front of a video screen facing the audience with a smaller sculpture between the robot and audience.

Projected onto the screen will be the robot view of the sculpture and audience. The smallish sculpture is made from found objects and branches.

There will be a barrier in front of the entire installation. In front of the barrier is a station with sensors and switches that operate the robot and sculpture. I have some new sensors that read a volunteers touch, heartbeat and skin conductivity, a sort of aura reading.

Volunteers touch copper plate sensors and switches triggering the robot to respond, the robot has a live camera, lights and fire on it pointed at the sculpture as well as the audience, the video image is projected, large, behind the robot. The fire, will of course, be regulated.

The sensors will be able to trigger 3 movements on the robot as well asthe light, laser light, fire, and sound amplified from the robot. Eventually, the small sculpture will catch fire.

So; audience-barrier-sculpture-robot arm-video screen

I hope this makes sense!?
please see enclosed drawing.

sincerely,
Kal Spelletich

 

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2014

•November 1, 2013 • 2 Comments

 

talcac

A Class I Am Teaching this summer 2014

Sign on UP!

http://www.sfai.edu/pranksinarts

What is the legacy of making transgressive art? How do you make art subverting the dominant paradigms and survive? Stay out of jail? Not break the law? From the Dadaists to Punk Rock, The Diggers to The San Francisco Cacophony Society—we will cover it all in this class. I will lecture on these topics, give assignments, show videos and images, bring in guest artists, and present first-hand anecdotes on this overlooked special genre of contemporary art. There will be a special emphasis on San Francisco practitioners in the field and the recently released book I am featured in and contributed to, Tales of The San Francisco Cacophony Society.

 

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Stanford LASER of 3 april 2014

Stanford Art Institute, Stanford Office of Science Outreach and Leonardo ISAST invite you to the next Leonardo Art/Science Evening Rendezvous, an evening of art and science presentations.

When: 3 april 2014 at 6:45pm

Where: Li Ka Shing Center, Room LK120

What:
* Robert Rich (Composer) on “Slow Music in a Manic World”
* Patricia Burchat (Stanford/ Physics) on “What is the Dark Energy in the Universe?”
* Kal Spelletich (Kinetic Artist) on “Interactive art as a catalyst towards an engaged life”
* Sharon Spain (Curator) on “A Nexus For Art & Environmental Activism: Recology Artist Residency Program”

Details, directions, links at http://www.scaruffi.com/leonardo/apr2014.html
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my frankentree

A new Class I am Teaching;

12 Sessions » Wednesdays, January 29–April 23
(no class March 19)
7:30–10:30 pm | Studio 105 several sessions will meet off-site at Kal’s Dogpatch studio | $480

MY CLASS STILL HAS A FEW SLOTS OPEN….
http://www.sfai.edu/site-adventures
If you know people that might be interested with a 20% off discount, feel free to share the code 7072 with them, which is valid on registrations prior to January 15.

Survive life as an artist with this eclectic, skill-based crash course. You will learn some: installation building, carpentry, home-brewing, guerrilla gardening, electric wiring, robotics, fire-making, fixing things, plumbing, pneumatics, pumps, water purification, high-voltage electricity, video surveillance, electronic interfaces, scavenging for materials, cooking alternatives, solar power, skinning a rabbit, lighting, remote control systems, survivalist contemporary art history, and promoting and exhibiting your art. This class will have local visiting artists. We will incorporate elements of time, process, interactivity, performance, light, space, installation, and video, and we will consider how to realize these practices in a contemporary, conceptual way. http://www.sfai.edu/site-adventures

I seem to have a certain critic referencing my class…..http://www.vulture.com/2013/12/saltz-on-the-trouble-with-the-mfa.html

“but it’s also time for grad programs to stress courses in craft and various skills — from blacksmithing to animal tracking,”

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I am curating this closing event, it will be real great, this i PROMISE! We will have some very special guests DJing.

http://www.sfai.edu/energy

CLOSING RECEPTION
Thursday, December 12, 7–10 pm

whiskey pouring machine

whiskey pouring machine

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Saturday, November 23, 2013    5:30-7:00 P.M.

Yerba Buena Arts Center

http://dissidentfestival.tumblr.com/

I  will be showing some machines and robots and giving some demonstrations on how and why I build and built them.

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Most of my art in 6 minutes and 8 seconds

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My career in 1 minute 56 seconds

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From a Recent Show at my STUDIO>

http://terrancegraven.blogspot.com/2013/08/kal-spelletichs-night.html

mark making with my upside down Gyroscope

gyro on metal

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I gave a talk and presentation of my work at UC Berkeley for the Bay Area Science Festival ; http://www.bayareascience.org/event/touch-me-the-neuroscience-of-touch/

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An Exhibit In Los Angeles

•September 18, 2013 • Leave a Comment

Brandon With His Head In The Clouds

Here is something.

Helloo All,

I am in a group show in Los Angeles titled “Artifacts of A Life Lived By the Living” ( To Live ), It opens on Saturday September 28, 2013 from 7-9PM at the Craft and Folk Art Museum.

http://www.youtube.com/watch?v=HxfSV-a5miQ&feature=share&list=UUNx3wcZ1bzCaFPRSgkoSRKw

5814 Wilshire Boulevard (at Curson) 

Los Angeles, CA 90036

(323) 937-4230

http://www.cafam.org

Admission is $12.00 for the opening, there will be some food and drink and a DJ aaaand my BB-Q’ing action.

The title of my piece is “With Your Head In The Clouds”

https://vimeo.com/74577523

It is about the tyranny of busy and in search of a daydream nation.

I will show a video installation of some 50 people daydreaming projected on the ceiling with 5 projectors. As well as a live camera anyone can stand in front of and be projected up with the other dreamers. I will have one of my walking BB-Q’s and will be cooking food on for you all at the opening.

Turns out daydreaming is good for you.

http://www.newyorker.com/online/blogs/frontal-cortex/2012/06/the-virtues-of-daydreaming.html

Featured artists: Alex Cohen, Alicia McCarthy, Carmen Papalia, John Ratliff (Swan), Justin “Kutmah” McNulty, Kal Spelletich, Kim MacConnel, Liz Harris, Michael Bernard Loggins, Sue Tompkins

Curated by Chris Johanson, this group exhibition focuses on established and emerging artists who have had to adjust their artmaking practice due to changes in their life condition, such as chronic illness, pollution, detainment, or other experiences that have altered their perceptive and creative abilities.

http://www.cafam.org/upcoming.html

Artifacts of A Life Lived By the Living ( To Live )

September 28, 2013 – January 5, 2014.

http://tmagazine.blogs.nytimes.com/2013/08/16/artists-on-artists-chris-johanson-on-the-apocalyptic-machines-of-kal-spelletich/

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On Monday Sep 23 2013 – 7:30pm

I will be in the house at The Castro Theater in San Francisco, with my Electroshock Whiskey Pouring Machine.

We are having a book release event for a book I am in.

http://www.commonwealthclub.org/events/2013-09-23/chuck-palahniuk-and-sf-cacophony-society-creating-culture-mayhem

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Meanwhile one of my best buddies also has a show in LA, it is spectacular, AND it is free to see it:

http://www.moca.org/museum/exhibitiondetail.php?&id=484

https://www.youtube.com/watch?v=1leFhB4jqSM

Industrial ROBOTICS art PERFORMANCE in San Francisco

•March 27, 2013 • Leave a Comment

Industrial ROBOTICS art PERFORMANCE in San Francisco

Friday, August, 23, 2011

8:00PM until Midnight

1043 Marin St.,

S.F., Ca. 94124

cross street Illinois St.

General Admission: $10 or what u can pay…

Students and Seniors: $7

Live Audience Experiments with Machines and Robots

WITH! Dj Big Daddy, tip him!

YOU VOLUNTARILY ASSUME THE RISK OF SERIOUS INJURY OR DEATH BY ATTENDING THIS PERFORMANCE!

Here is some discussion about my work: http://tmagazine.blogs.nytimes.com/2013/08/16/artists-on-artists-chris-johanson-on-the-apocalyptic-machines-of-kal-spelletich/?_r=1

This is a BYOB event, there will be no alcohol served, bring some if you want some, the nearest plaCe is 8 or so blocks away at Reno’s.

http://www.yelp.com/biz/renos-liquor-store-san-francisco

Directions:

From the freeways

Cesar Chavez (Army St.) exit from 101 or I-280  North or South, take Cesar Chavez East, go about a mile from 101, 2 blocks from 280, go through intersection of 3rd St., immediate right onto Illinois St., go one block, building is kitty corner, on your right.

Look for the red light, ya can’t miss it.

FROM DOWNTOWN

South on 3rd. Left on Cesar Chavez, immediate right onto Illinois St., go one block, building is kitty corner, on your right.

Look for the red light, ya can’t miss it.

FROM THE MISSION

East on 16th street from Portrero St./the mission, take a right on 3rd., go south a couple of miles, Left on Cesar Chavez, immediate right onto Illinois St., go one block, building is kitty corner, on your right.

Or, go East on Cesar Chavez FROM THE MISSION, go through intersection of 3rd St., take immediate right onto Illinois St., go one block, building is kitty corner, on your right.

kaltek.org

Neither Kal Spelletich, KALTEK nor anyone associated with this event shall be held responsible or liable for any LOSS, DAMAGE, INJURY or DEATH arising from any activity organized, sponsored or promoted by Kal or the presenting organization anywhere in the universe, forever.

EVIGILO FABRICA LABORIS EXERCITUS SODALITAS

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And i have stood on the shoulders of giants:

http://tmagazine.blogs.nytimes.com/2013/08/16/artists-on-artists-chris-johanson-on-the-apocalyptic-machines-of-kal-spelletich/?ref=t-magazine&_r=0

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ARTS BENICIA

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I am very happy to be in residence at the Arts Benicia Artist in Residency (ABAiR) 

Program for Site- Specific Installation Artists

PRESS

http://beniciaherald.me/2013/08/01/in-residence-s-f-based-artist-creates-interactive-benicia-exhibit/

http://laughingsquid.com/morning-glory-an-art-technology-exhibit-by-seemens-kal-spelletich-in-benicia-california/

http://www.dailyrepublic.com/news/features-local/kal-spelletichs-art-where-man-meets-machine/

OPENING SAT. AUGUST 3, 2013

MORE HERE:   http://kaltek.wordpress.com/arts-benicia-72013-installation/

http://artsbenicia.org/events/?page_id=42

707 747 0131

FLOWER PORTAL

FLOWER PORTAL

info@artsbenicia.org

991 Tyler street , #114

Benicia, CA 94510

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This Thursday July 18, 6:30-9:00 PM we are hosting a BB-Q with one of my walking BB-Q’s.

Also, I will be shooting short video clips of people “Looking Hopefully Towards The Future”.

The exhibit opens on Saturday August 3, 7-9PM.

I will give an artists talk on Saturday, August 10 1-3PM.

And host a workshop Sunday August 18th, 1-5PM.

Gallery hours are 12-5 PM, Thursday-Sunday

https://www.facebook.com/pages/Arts-Benicia/337617741986?ref=ts

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+WEIRD SCIENCE EXHIBIT+

Hello All,

I am in an exhibit at The NEW Jack Hanley Gallery in NYC.

The show is up from Friday, April 5 until May 5, 2013.

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-AN INTERVIEW BY JACK HANLEY AND KARA KAZANOFF ABOUT THE EXHIBIT.

http://www.artextrovert.com/2013/07/jack-hanley-talks-about-weird-science.html

_ and interesting observation by Chris Cobb: http://blog.sfmoma.org/2013/05/san-francisco-art-invades-new-york/

327 Broome Street

New York, NY 10002 646-918-6824

jackhanley.com
    hours: Wednesday – Sunday, 11am- 6pm
subways: J train to Bowery / B&D trains to Grand Street /

6 train to Spring Street

327 Broome Street
between Chrystie and Bowery

The Exhibit is called Weird Science.

I helped curate the show a little. Putting in V. Vale and Matt Heckert.

Matt Heckert's Flamegun

Matt Heckert’s Flamegun

VIDEOS:

Space Measurer:

http://www.youtube.com/watch?v=saPkj3N-3Sc&feature=share&list=UUNx3wcZ1bzCaFPRSgkoSRKw

Overview of the show:

http://youtu.be/UGpfBBb1vAI

Video Of Hunter Thompson Firing Matt Heckert’s Flamegun:

http://www.youtube.com/watch?v=hfNHX2Rc0IgFootage

Abstract Laser and Video Images:

http://www.youtube.com/watch?v=utgcYOU2yz4&feature=share&list=UUNx3wcZ1bzCaFPRSgkoSRKw

Time Monitor

http://www.youtube.com/watch?v=2CtqFn07Tpg&feature=share&list=UUNx3wcZ1bzCaFPRSgkoSRKw

Also in the show:  BJORN COPELAND,  DAVE HARDY,  MATT HECKERT,  AJAY KURIAN,  DARIA MARTIN,  JESSICA RATH,  ALEX SCHWEDER,  SLAVS AND TATARS, KAL SPELLETICH,  JEFF WILLIAMS.

PRESS ON THE SHOW:

http://www.nytimes.com/2013/04/26/arts/design/weird-science.html?emc=tnt&tntemail1=y&_r=1&

Serving Cocktails

Serving Cocktails

Come on by and I will serve you some laser activated Quinine with gin in it. It’s phosphors turn UV light into visible light making it glow blue.  Phosphors are special substances that emit light (luminescence) when excited by radiation. You can also peruse my Time Monitor and Space Measurers.

TITLE: Time Monitor/Space Measurers

Kal Spelletich provides two machines and photographs having to do with measuring the speed of light and metaphysics. He uses robotics, wood, lasers, alcohol, flowers, surveillance, interferometry and sensors.

It is an attempt to measure, understand and dismantle the fundamental principles of the universe; the ontological and cosmological. Measuring space, time and light waves with a little smoke and mirrors.

Arcus coelestis tempore potest convertere significat temporis spatium.

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The title is taken from the lyrics of the punk band the Minutemen.

Refraction, bending light.

Beam splitting

Patience

“Rayleigh Scattering”

Slowing the speed of light

Experimenting, hacking and measuring the speed of light

Recreating the original speed of light tests

Light as a portal to enlightenment.

MATT MARK AND WILLIAM AND JAMES AND....WITH MATT'S FLAMEGUN AS SEEN AT WEIRD SCIENCE

MATT MARK AND WILLIAM AND JAMES AND….WITH MATT’S FLAMEGUN AS SEEN AT WEIRD SCIENCE

Here is the full Essay by V. Vale;

TECHNOLOGY CHANGES  THE FUTURE, INCLUDING ART (“WEIRD SCIENCE”) 

Kal Spelletich, Matthew Heckert, V. Vale at Jack Hanley Gallery, New York City.

327 Broome Street, New YorkNY 10002 646-918-6824www.jackhanley.com

Because of the lack of a stifling hierarchical, authoritarian, tradition-bound institutional hegemony, California’s Wild West engendered a climate of unprecedented imaginative creativity (the freedom to play, take risks, take chances, and be wild and free) which has almost singlehandedly created the start-up culture of the 21st Century, typified by Apple Computers, Google, FaceBook, YouTube, Twitter, the GoPro videocamera, Burning Man, and other inventions both real and virtual. Silicon Valley and Hollywood created the last fifty years of most of the world’s technological and cultural innovation. (There are a few exceptions, like “Gangnam Style,” but they remain minor. Most of the “Designing of the Future” has sprung from the West Coast.)

Forty years ago the British futurist-visionary J.G. Ballard wrote, “Sex times technology equals the future.” (1972) However, it can be argued that technology in itself changes the future. And that includes the future of all culture, including “art.”

In the last hundred years, the definition of art has expanded almost infinitely. Marcel Duchamp said, “Anything is art if an artist says it is.” Duchamp invented the concept of the “readymade,” which included industrially-manufactured objects such as a urinal, a bicycle wheel and a stool. Simply by titling and autographing them, he made them museum-worthy and valued at probably $1,000,000 or more in today’s dollars. He also helped invent conceptual and performance art: he gave himself a haircut with a star emblazed on top (anticipating ’90s hip-hop stars) and also played chess in public with a naked woman (that was called art, too). His last grand meisterwerk was an installation which could only be viewed through a peephole  in a door (thus rendering the viewer a Peeping Tom or Tomasina) featuring a naked woman, legs spread, holding aloft a lantern in one hand, with a fake stream of water nearby (Freudian symbolism?).

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Duchamp came to the West Coast (otherwise known as the Best Coast, the Left Coast, the Free Coast) and quickly adapted to the Wild West pioneering mentality where social pedigrees, privilege, and titular wealth were largely ignored. But much earlier, foreseeing the influence of technology on the future, in 1915 he had begun engineering his precarious “Bride Stripped Bare by Her Bachelors, Even”—a kind of perpetual-motion masterpiece of “useless” technology. Duchamp’s detailed drawings reveal him to be a kind of “weird scientist” decidedly uninterested in anything but the metaphoric, the impractical, the conceptual. Four hundred years earlier, Leonardo da Vinci was producing the same kind of highly detailed “schematic” drawings hinting at a science of poetic alterity, much like Duchamp adumbrated.

Duchamp is now considered the Godfather of 20th Century Conceptual Art and has long been part of the Pantheon of Blue Chip Artists. But most people forget that it was not until 1963, in California, that he was given his very first museum show, by the prescient uber-curator Walter Hopps, at the Pasadena Art Museum.

Walter Hopps almost single-handedly catalyzed the West Coast School of Art which included Ed Kienholz, the first Californian artist to make art out of that singularly American invention, the automobile. Predating Ballard’s “Crash,” Kienholz created an installation titled “‘Back Seat Dodge ’38” which showed a woman in the backseat of the car in some unidentified stage of sexual intercourse. This once-shocking tableau has now been permanently enshrined as a classic work of bona fide art at the Los Angeles County Museum of Art. Again, technology creates the future.

Of course, technology was used in Europe to change the world and bring innovation into culture—think of Gutenberg’s printing press, circa 1436. At the beginning of the 20th century, the Italian Futurists (particularly one Luigi Russolo) created a strange orchestra of music-and-noise-producing machines to honor the industrial age’s contribution to changing the world’s soundtrack by increasing ambient noise decibel levels. The Swiss artist Jean Tinguely began collecting abandoned rusty machinery and fashioning machinery which drew, painted, produced sound and sometimes self-destructed. Some of the machines were grouped into installations which school children could activate. Today there is a Tinguely Museum in Basel, Switzerland.

Flash forward ahead several decades to the birth of the Industrial Culture Movement, most prominently spearheaded by an art company calling itself “Survival Research Laboratories” in context of the beginning of the Seventies Punk Rock Cultural Revolution. Principals Mark Pauline, Eric Werner and Matt Heckert were the mainstay of the anarchic gathering of wayward talents. During this decade, San Francisco had begun its deleterious shift from a manufacturing economy to a service, design and marketing economy, as labor began to be exported overseas by unpatriotic corporations and CEOs. The result was that literally dozens of light machine shops and small factories were abandoned almost overnight, their contents left to attract dust and rust. Sensing that this machinery could be used to make art, the can-do young American mechanical engineers in SRL began breaking in and carting off this detritus. One of them was San Francisco Art Institute student Matthew Heckert, who taught himself welding “outside of class.” Quickly he began fabricating large-scale performance art machines for deployment in city-block-wide outdoor performances accompanied by high-volume weird-musical-collages, which he curated.

A San Francisco Punk Rock publisher named V. Vale (disclosure: that would be me) began publicizing the work and theory of SRL beginning in the last issue of “Search & Destroy” magazine (1979), the first three tabloid issues of “RE/Search,” the “Industrial Culture Handbook,” and two books titled “Pranks” (Volume One and Volume Two). RE/Search also published an early SRL video titled “Menacing Machine Mayhem.” These books reached artists and rebels worldwide. This video, and other videos of these “industrial art machine” performances, began inspiring other artist-engineers all over the world, as well as attracting new talent to pilgrimage to San Francisco and join SRL.

One such innovative artist compelled to join Survival Research Laboratories was Kal Spelletich from Iowa. Mr. Spelletich had managed to find the RE/Search “Pranks” issue and had been so impressed by what he read that he raised money, sold off his possessions, and drove to San Francisco straight to the SRL shop to join the crew.

SRL’s unique artistic start-up environment of self-financing, hunter-gatherer-foraging-for-abandoned-art-materials, self-tutoring, self-apprenticeship, and empirical trial-and-error engineering investigations was not without excitement. Sadly, one ill-fated experiment resulted in SRL founder Mark Pauline’s right hand being blown apart—it was Matt Heckert who rushed him to the genius S.F. General Hospital microsurgery unit two blocks away. After various toes were grafted on, the bloody stump was restored to a level of usability.

Years passed. More and more art machines were designed, engineered and deployed in huge live art performances and installations. Robotics and drone-guidance technology became incorporated. SRL began giving shows all over the world. More and more SRL individuals developed their talents, skills, and then broke off to create their own opuses of work. Matt Heckert had created dozens of very strange musical soundtracks from the myriad records he discovered in his travels. Heckert, a musician in the Punk band Pink Section (and other bands), began to fuse his talent for engineering with his love for music. Subsequently he invented a number of interactive music-and-noise generating art-machines, to be used in installations, exhibitions, and also in live performances of his mechanical orchestra.

Kal Spelletich, in his voyages all over the world (one of his favorite experiences was visiting Africa, as well as India), has created a number of interactive machine-art installations, performances, exhibits, and even food-and-art machines (many grateful art lovers have eaten his delicious sausages worldwide; sometimes experiencing intense art makes one very hungry). Some of his interactive art machines have been used to educate and inspire young audiences composed of grade school and high school students. Adults have been enlivened by his cocktail-making robotics (shaken, not stirred).

As for New York, it has long been known that for an artist to “make it,” that artist must have a showing in New York. And the avant-garde gallerist Jack Hanley has stuck his neck out to provide a Manhattan home base for this “Weird Science” art exhibition, showcasing two quiet-but-in-it-for-the-long-term technological-artistic innovators living in the Bay Area: Matt Heckert and Kal Spelletich. Both are iconcolastic spirits who have harnessed their rebellious impulses in the service of transgressive yet illuminating creativity: inventing art machines and installations which radiate rhizomatic puzzlement, suggest unexpected affinities, and activate (hopefully) reverberating radicalization.

Both Matt Heckert and Kal Spelletich have used technology to suggest futures which will not be circumscribed by fascistic functionality. Both are engaged in the great project of imagining into existence new modes of interactivity, new modes of being, new modes of transcending a future imprisoned by banal borderlines of conceptuality. Their machine fusions of art with technology are creating new anthropological-mythological enigmas to be decoded by future generations of art historians. So, enjoy them now!

—V. Vale, RE/Search founder-writer-curator-musician, www.researchpubs.com

From The original Research Magazine article....

From The original Research Magazine article….

http://kaltek.org/

ANOTHER ESSAY by Kara Kazanoff:

Many of the investigations activate different and hidden modes of a familiar material or space. Dave Hardy uses everyday building supplies – foam, cement, glass – in massive conglomerates that play on perception of gravity. Ajay Kurian melts gummy bears, microwaves bars of Ivory soap to reveal the billowy insides, and textures paintings with crystallized sodium borate. Each of these elements has an anecdote. For instance, the preservative in the gelatin of a gummy bear keeps it from ever fully solidifying or breaking down. While interested in our ideas of the organic and synthetic, Kurian also has a nice way of leveling the playing field between the two. After all, “the things we tend to also tend to us”, and to forget this is to fall into an overly deterministic pattern of thinking. Similarly, for Alex Schweder, the way in which one interacts with one’s living space, the “non-I that protects the I”, will help to define its parameters. In fact, a playful or inventive change in behavior is as profound on the home as an addition to it. As part of his one-week performance for the show, Schweder will be offering free architectural advice on how to renovate the home through the addition of a prescribed performance, some of which he has acted out in a series of accompanying photographs.

Conversely, our concepts and awareness of time and space are often inseparable from an immediate material reality. Before becoming part of a greater linguistic dialogue, Benjamin Whorf found time to be “patterned on the outer world”. Time is imagined in numbers, and the tongue “makes no distinction between numbers counted on entities and numbers that are simply ‘counting itself’”. It is quantified in “lumps, chunks, blocks”, substance and matter. Jeff Williams’ works operate on two different but related time scales: a real-time change during the course of an exhibition, and an implied long-term transformation that is only glimpsed at during the show. Conservation Fountain sprays water onto fossilized plant mineral dug from the ancient tide-pools of the San Antonio hill country. This traditional method of cleaning rids the specimen of dirt, while also speeding up natural erosion and decay, the same process that had given it its original form. A sense of inevitable annihilation or mutation of material seems to run throughout his work, but it is often tempered by poetically selected moments of stasis, bringing to mind a line from Plato’s Timaeus comes to mind: time is “a moving image of eternity”. A similar idea factors into Kurian’s nuclear ‘rocks’, a hardened plastic that contains traces of nuclear waste, short-circuiting the thousands of years it would take for the waste to decompose on its own. For both of these artists, time is something that is shortened, lengthened, made consumable, jerked from underneath you or felt to be expansive, all through slight and subtle manipulations of a material thing.

Jessica Rath’s porcelain sculptures are based on one of the oldest species of edible apples still existing. This particular set references the politicized nature of food production, shaped by human desire, and its sometimes devastating effects to a local ecology. Slavs and Tatars investigate the hybridized language and politics of Eurasia, the geographic area east of the previous Berlin Wall and west of the Wall of China. The group offers a variation of collapsing time, in that a whole history of cultural interchange and interpretation can be embodied in a single, sleight-of-hand work. Spoonerisms, religious goofs, sociolinguistic slips of the tongue, all bring to light both information and mis-information in a collective cultural make-up. A version of this can be read in When in Rome, a puzzle of hi- and low-brow references with a gesture to the mis-remembered gypsy culture. This is not unlike Bjorn Copeland’s modified “Associated Grocery” posters. Copeland makes a very simple modification to the signs, but the result is a twisted visual-linguistic gestalt that solicits a little investigation from the viewer. Throwing confusion into the mix can be a helpful tactic for artist and scientist alike – “Nothing whets the intelligence more than a passionate suspicion, and nothing develops all the faculties of an immature mind more than a trail running away into the dark”.

Attempting to understand the fundamental principles of the universe is a very human thing, and it needs a sense of play. Kal Spelletich does it with “a little smoke and mirrors” and the help of machine inventions. These maquettes are activated either by blowing into a breathalyzer, which requires a small amount of alcohol on the breath, or a sign of bodily stress tested through a lie-detector. Spelletich inadvertently points out that these tools have been held for years as accurate, but they may be no less of a pseudoscience than his time and light-wave measuring machines. Sharing in a similar imaginative low-tech approach, Matt Heckert’s flamethrower is a do-it-yourself creation from the annals of RE/Search magazine by V. Vale. Heckert likes to create responsiveness in a simple machine, rather than through a super-powerful microchip. Daria Martin’s Soft Materials is also structured around the research of ‘embodied artificial intelligence’: AI that is programmed to function through sensory experience (touching, bumping into things) rather than through a ‘computer brain’. Man and woman engage in a sensual mimetic dance with their mechanical counterparts, studying the kinesthesis of their own bodies through that of another.

Martin may distance her film quite far from the experiment, which was shot on site at a lab at the University of Zurich, but the ghost of the idea remains: the work operates with a leakage between the laboratory, the dance, and the film. For Martin, the way in which one sense triggers another is somehow related to the challenge of trying to translate one medium into an unrelated one. Quoting this idea again in her latest work, Martin starts with a real-life experiment of mirror-touch synesthesia, a neurological condition that causes a patient to experience the feeling of being touched when an outside object is stimulated. The single stimulus activates two distinct and unrelated cortical areas of the brain – the sense of sight, and the sense of touch. Although speculative, it isn’t too far off to imagine that both the experience of art and science are somehow equally ‘sensed’.

The goal of our endeavor is to explore this affective crossover. Like early interpretations of quantum mechanics, it is near impossible to grasp at any grounding notions of what matter, light, and time-space is – just as it is difficult to define contemporary ‘positions’ in art – unless through the measurement of small and brief interactions. But even then, it depends on the observer.

Be it at KALTEK University raining Majorie cameron or William Burroughs, we are down.

2 films i worked extensively on are included in the the National Film Registry of the Library of Congress

•December 13, 2012 • Leave a Comment

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Houdek%20Meth%20Lab

OK, well, getting some things done after all, albeit over ten years & 23 ago…. 2 films i worked extensively on are included in the the National Film Registry of the Library of Congress here’s to posterity!

http://www.austinchronicle.com/blogs/screens/2012-12-19/slacker-added-to-national-film-registry/

now to get http://www.othercinema.com/mu.html in that there library!

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kal_03

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Jen In The Fennel Huggerer!

*jen in the fennel hugger, originally uploaded by k0re.

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Daily Stuff

•January 19, 2011 • 3 Comments

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A magazine a little something I wrote is in:

http://www.zingmagazine.com/issue21/johanson.html

Hello All,

This summer I am teaching workshops/classes in which I will help you research and or build just about anything you may be interested in the below class description. I have lots of machines and robots for people to test, operate and play with.

The classes are $25.00 and hour. I can also give advice on exhibiting in Europe and the U.S. and survival as an artist.

All the best

kal

We can explore: welding, carpentry, remote control systems, home-brewing, gorilla gardening, electric wiring, robotics, fire making, fixing things, plumbing, pnu-matics, pumps, building installations, water purification, high voltage electricity, video surveillance, electronic interfaces,  scavenging for materials, cooking alternatives, Solar power, lighting, remote control systems, survivalist contemporary art history, promoting and exhibiting your art.

We can talk about the history of this kind of art.

Have you ever wanted to build a robot? Ever wanted to know how to make that sculpture move? Make a painting spin? Build a walking machine? Learn how to make inanimate stuff come alive, move and become ANIMATE! Don’t know anything about this field but want to start at the very beginning?

Then this is your class.

All levels will be accommodated.

As late as the early 1980’s lots of young, smart, idealistic people went to work in factories and warehouses and “the trades”. Knowing they could earn a decent living and learn skills they can apply across many fields throughout their lives. Some went on to apply this skill-set to their art practices.

It is harder to do that now without factories and trades jobs. But it’s still possible and this workforce through skill sharing is coming back. As the world economy continues to collapse these skills are even more valuable and critical. It used to be you could fix a lamp or a broken door. This class will help the next crusaders in this field work in factories, gardens, special effects, meat packing plants and construction jobs before and during their start to poetically express themselves and make a living.

This is where I have taught and lectured:

http://kaltek.wordpress.com/kalman-spelletich-resume-cv/

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+Watch for events for the next 5 weeks, see the calendar+

Opening This Friday, May18, 2012

until June 23, 2012.

Opening Night is May 18th
Time: 7-11pm
featuring dance performance in the streets by Brontez Purnell & Amara Tabor Smith
Performances by LoveWarz and Sean O’Dell
Music by Strawberry Smog + Moira Scar
Free Cafe, Public Art and more…

http://streetopiasf.com/

http://www.luggagestoregallery.org/2012/04/streetopia/

http://www.booklyn.org/artists/STREETOPIA,%20San%20Francisco,%20CA.php

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My Class/Student show tomorrow/Thursday May 10, 2012.

http://sfsusculpture4.drupalgardens.com/content/sfsu-student-work

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San Francisco State University Exhibit

Hiya!

I am in an exhibit at San Francisco State University honoring the late great Artist, writer, educator and all around amazing man Stephen Wilson.
I will be exhibiting my Handshaking Machine.

HAND SHAKERER

By Kal Spelletich

1. Place Your Hand Inside Robot Hand And Grip It.

2. Shake Hands With Robot.

3. Open your hand to try and get robot to let go.

Robotic Hand Senses A Human And Extends An Open Hand. Upon contact, It Decides According To Your Heartbeat And Touch Which Of Three Grip Strengths To Use. It Decides When And How Often To Shake Hands And When To Let Go.

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See Video Here

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Something from the SF State Student Paper The Golden Gate Xpress

http://www.goldengatexpress.org/2012/02/29/smart-space-opening/

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It opens Tuesday, February 21, 2012.
4:00pm – 6:00pm

A new exhibition at San Francisco State University’s Fine Arts Gallery. Works by Jim Campbell, Maggie Orth, Alan Rath and Gail Wight are highlighted Feb. 21 – March 15 in “SmARTspace at the Intersection of Art and Technology,” a show conceived by the late SF State Professor and Leonardo Board Member Stephen Wilson, a prolific artist in the field and among the first to chronicle those who successfully bridged art, science and technology.
For more than 30 years, Professor Stephen Wilson was widely respected at SF State and beyond for his innovative drive and intellectual curiosity, as it pertained to art and technology. To pay homage to his work and legacy, the Fine Arts Gallery presents an exhibit that builds on Professor Wilson’s ideas and writings and includes diverse works by several well-known West Coast artists. This interactive exhibit includes motion-activated sculpture, walk-through “environments,” performance events, a panel discussion and more.

The NEW hand!

Feb. 21-March 15, 2012
Gallery Hours: Wednesdays-Saturdays, 11am-4pm
Admission: Free

http://gallery.sfsu.edu/

“SmARTspace” features work by four pre-eminent West Coast artists who work at the interface of art and technology: Jim Campbell, Maggie Orth, Alan Rath and Gail Wight.

Wilson proposed “SmARTspace” based on artists featured in his books “Art and Science Now” (Thames and Hudson, 2010) and “Information Arts: Intersections of Art, Science and Technology” (The MIT Press, 2003). Conceived by Wilson, the exhibit is organized by Paula Levine, Mark Johnson and Sharon Bliss with the assistance of students from San Francisco State University’s Art Department. The exhibition celebrates the legacy of Steve Wilson’s work as a teacher, artist, writer and thinker while commemorating the one-year anniversary of his death.

Admission is free to the exhibit and all related events. As part of the opening, Pamela Z will perform solo works for voice, electronics and video Feb. 21 at 5 p.m. in Knuth Hall. A robotic hand by SF State Lecturer Kal Spelletich will greet visitors to the opening reception. Related exhibitions will take place at The Lab and Root Division galleries (both in San Francisco).

http://creativearts.sfsu.edu/events/3345/smartspace-intersection-art-and-technology-opening

Date:
Tuesday, February 21, 2012 – 4:00pm – 6:00pm
Venue:
Fine Arts Gallery
Cost:
Free
Contact:
Fine Arts Gallery
Email:
gallery@sfsu.edu
Phone:
415-338-6535
Website:

http://gallery.sfsu.edu

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SFMOMA December, 7, 2011

Space Lime Light Modulatoror

http://kaltek.wordpress.com/sfmoma-december-7-2011/

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Praha, Czech Republic Exhibit

An Exhibit I am currently in,

in Praha, Czech Republic

The Prague Contemporary Art Festival

http://www.tina-b.eu/en/stranka-exit-89

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The Berkeley Center For New Media talk and Exhibit.

I am thrilled and honored to be invited and presenting at The Berkeley Center For New Media.

here is a funny article on the talk:

 http://aotn.us/post/11364932802/kal-spelletich

I am going to be ATTEMPTING to test my new handshaking machine, showing video of past work and having a discussion about it all.

http://bcnm.berkeley.edu/?p=1599

ATC Lecture: Kal Spelletich, “Fear and Fun: Performing the Human-Machine Interface”
Monday, 10 October 2011, 19:30 to 21:00
Banatao Auditorium, Sutardja Dai Hall, UC Berkeley
Admission is free and open to the public

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Sight School Gallery

I have a piece I collaborated on with my friend Ajit Chauhan. This exhibit opens tomorrow, Sat. Oct. 8, 2011.


PICTURES:

https://www.facebook.com/photo.php?fbid=10150371544953281&set=a.57221863280.53196.828338280&type=1&theater

http://www.sightschool.com/
http://www.facebook.com/event.php?eid=204695779596186
Sight School
5651 San Pablo Ave.
Oakland, CA 94608

“Don’t Be Upset—I’m Only Crying in English””
October 8 – November 8, 2011

Opening: Saturday, October 8, 7-10pm

For its final exhibition, Sight School is pleased to present a new installation by San Francisco-based artists Kevin Killian and Ajit Chauhan. Long time admirers of each other’s work, the artists have collaborated on an elaborate call and response project in connection with the work of the late US poet Elizabeth Bishop (1911—1979). In her lifetime, Bishop was the awardee of every honor, including the 1957 Pulitzer Prize, but since her death a general consensus has placed her at the very top of Olympus, perhaps the preeminent postwar American poet. A writer of mystery as well as of ordinary things, a poet of landscape who traveled widely and deeply, she could also let divine poetic accidents into her highly stylized workshop; during her lifetime she published only a handful of books, 101 poems in total. Often thought of as a Boston poet, or a Key West poet, or as an American poet in exile in Brazil, where she spent most of her 40s and 50s, but she lived in San Francisco for two tumultuous years, during the “youthquake” of 1968-1970, in a quiet apartment on Pacific near Polk.

The exhibition takes its name from an anecdote that typified her grace, humor, and practical mind. James Merrill visited her at Casa Mariana, in Brazil & she was glad to be able to speak English with someone as it had been weeks. It brought out a recent sorrow & she was in tears. A young Brazilian painter & guest stumbled upon them & stopped dead in his tracks. Elizabeth immediately wanted to console him & said switching to Portuguese “Don’t be upset, I’m only crying in English.” Through collage, photography, sculptural deskilling, through music, poetry, electronica and voice, Killian and Chauhan bring to life a forgotten chapter in Bay Area history, the time when Elizabeth Bishop lived among us on the other side of the Bay.

Ajit Chauhan (b. 1981) is a Kansas-born, San Francisco-based artist. Kevin Killian (b.1952) is a poet, novelist, playwright, critic, and editor whose next book, Tagged, will be a collection of his own photographs.

AND, please remember to OCCUPY EVERYTHING and support your local occupiers.

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Industrial ROBOTICS PERFORMANCE

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Pics from show;

https://picasaweb.google.com/111684120175129318784/KaltekRobotParty

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Saturday, September, 3, 2011
8:00PM until Midnight
1043 Marin St.,
S.F., Ca. 94124
cross street Illinois St.

General Admission: $10 or what u can pay…
Students and Seniors: $7

Live Audience Experiments with Machines and Robots

WITH! Dj Big Daddy, tip him!

YOU VOLUNTARILY ASSUME THE RISK OF SERIOUS INJURY OR DEATH BY ATTENDING THIS PERFORMANCE!

This is a BYOB event, there will be no alcohol served, bring some if you want some, the nearest plaCe is 8 or so blocks away at Reno’s.

http://www.yelp.com/biz/renos-liquor-store-san-francisco

Directions:
From the freeways
Cesar Chavez (Army St.) exit from 101 or I-280  North or South, take Cesar Chavez East, go about a mile from 101, 2 blocks from 280, go through intersection of 3rd St., immediate right onto Illinois St., go one block, building is kitty corner, on your right.
Look for the red light, ya can’t miss it.

FROM DOWNTOWN
South on 3rd. Left on Cesar Chavez, immediate right onto Illinois St., go one block, building is kitty corner, on your right.
Look for the red light, ya can’t miss it.

FROM THE MISSION
East on 16th street from Portrero St./the mission, take a right on 3rd., go south a couple of miles, Left on Cesar Chavez, immediate right onto Illinois St., go one block, building is kitty corner, on your right.

Or, go East on Cesar Chavez FROM THE MISSION, go through intersection of 3rd St., take immediate right onto Illinois St., go one block, building is kitty corner, on your right.

kaltek.org
Neither Kal Spelletich, KALTEK nor anyone associated with this event shall be held responsible or liable for any LOSS, DAMAGE, INJURY or DEATH arising from any activity organized, sponsored or promoted by Kal or the presenting organization anywhere in the universe, forever.
EVIGILO FABRICA LABORIS EXERCITUS SODALITAS

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Jack Hanley Gallery

WHERES my JETPACK!?

KSpelletich

WHERES MY JETPACK!?

Machines, Robots, jetpacks, video and photographs.

Opening Saturday, July 9th 6-9PM

Closing FRIDAY August 12th, 2011 6-9 PM

Beer & BB-Q

Jack Hanley Gallery

136 Watts, N.Y., N.Y. 10013

646-918-682  http://www.jackhanley.com/

Go on Canal St. West, way west, 2 blocks past Hudson, left on Watts.

Neither Kal Spelletich, Jack Hanley Gallery nor anyone shall be held responsible or liable for any LOSS,

DAMAGE, INJURY or DEATH arising from any activity organized, sponsored or promoted by Kal or

Jack the presenting organization anywhere in the universe, forever.

£££££££££££££££££££££££££££££££££££££££££££££££££££

Leonardo Art/Science Talk May 2011

Constructive Interference of the Arts and Sciences

I am giving a short talk This Monday, 9 May 2011

http://www.scaruffi.com/leonardo/may2011.html

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MEETFACTORY Prague, Czech Republic Solo Show

A drawing I bought, made in the 1950’s, right down the steet in Praha

Prague press release

Arbor Aeronautics & Telepresences

An Article on my show in Praha:

http://www.praguepost.com/night-and-day/galleries/8128-mechanical-conifers.html

some videos here;

http://www.youtube.com/watch?v=owEigh0VIgU

More here;

http://kaltek.wordpress.com/prague-jan-april-2011/

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Kal Spelletich, visiting artist from San Francisco, Ca. will be exhibiting machines and robots built from trees at the MEETFACTORY.
The exhibit is about technology and its role in our lives and its role with the environment. There will be flying trees, machines you can operate and a wine pouring machine to serve you a glass of wine!
Opening Reception;Thursday March, 24, 2011 18:00 on.The Exhibit closes on April 15, 2011
I am doing 3 walk though’s with special, ahh, effects shall we say, in conjunction with other events at the MEETFACTORY, on 6.4 -18:00, 9.4 -14:00 and 14.4 -18:30.
http://meetfactory.cz/MeetFactory opsThe glassworks 3213/15, Prague 5 – Smíchov

Also in the exhibit will be the amazing work of Richard Loskot

http://sites.google.com/site/richardloskot/Home

Hello,

I am attending a residency and exhibiting in Prague from Jan. 17 to April 18, 2011.

http://meetfactory.cz/

As well as a few probable other cities on the continent.

If you are around Prague or Europe then let me know.

If you know of anything going on or places i should go to or people to see-

lemme know!

I feel lucky that during my 50th revolution around the sun I get to still keep making art, all over this planet.

all the best

kal

 
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