So I got the old band back together! LAB Performance April 5

•March 31, 2018 • 2 Comments

I am presenting my Robotic Trio, Group Play Machines.
There are three compositions with video scores with three randomly chosen audience volunteers get to operate the band. It is a lot of fun and hearkens back to my old noise band days in the ’80’s.

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http://www.thelab.org/projects/2018/4/5/norman-westberg-thor-friends

 

I will go on PROMPTLY at 8:30.

 

In about 1986 I heard about a band called SWANS. I started buying their albums and was floored by their raw intensity. I saw them soon after and have followed their journey since. So I couldn’t be happier to be performing with some of them!

On a troubling note, after 23 years, I am getting evicted from my studio from the edge of San Francisco. Gah! (it’s been a good run) Anyone with any tips on how to continue to make art in this nutty city and/or Bay area please let me know. I am stumped.

Hope to see you there!

All best,
Kal

 

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Frankenstein@200

•March 17, 2018 • Leave a Comment

An art show next weekend- In contrast, kinetic artist and Burning Man pioneer Kal Spelletich aims to make audiences a little uncomfortable with the future.

 

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Inspired by “elaborate and heartfelt” handshakes he witnessed in Africa years ago, the artist began to wonder if technology could perform personal, emotional acts. One of the resulting works, Hand Shakerer, will give LAST festivalgoers an intimate encounter with anthropomorphized technology.

The robotic hand, equipped with a proximity movement sensor, a touch sensor and an EKG, senses an approaching human, reaches forward and opens up. “If you put your hand inside the robot hand, it reads your bio information and decides whether or not to grip and how firm, if and when to start shaking and when to stop,” Spelletich said.

In the background of the artist’s work is a narrative of “technology run amok,” he said.

“Can robots go even further in areas we consider purely human gestures? The piece honors and criticizes technology at the same time: Is this where we are going? Is this our evolution?” Spelletich asks. “Shake a robot’s hand and see if it can touch your soul.”

https://arts.stanford.edu/humanity-technology-join-hands-in-lifeartsciencetech-festival-at-slac/

Performance & Talk at Sponsor: Jacobs Institute for Design Innovation

•March 13, 2018 • Leave a Comment

Tomorrow/Wednesday on the Berkeley Campus, the public is welcome….I am going to bring a few weird pieces for the students to experiment with. http://events.berkeley.edu/index.php/calendar/sn/Jacobs.html?event_ID=115125&date=2018-03-13&filter=Event%20Type&filtersel= Design Field Notes: Kal Spelletich
 
Seminar | March 13 | 4-5 p.m. | 220 Jacobs Hall
 
Sponsor: Jacobs Institute for Design Innovation

My prints and a drawing machine (that made the prints) is still on display…

•February 13, 2018 • Leave a Comment

Bonjour,

My prints and a drawing machine (that made the prints) is still on display at The Jules Maeght gallery 149 Gough St, San Francisco, CA 94102.

OrionNebula 2

They are in the back viewing area.
1. Solis And Luna
2. Orion Nebula
These prints are for sale for $250.00 each or both for $400.00

Here are links to the prints
https://www.julesmaeghtgallery.com/boutique/kal-spelletich-orion-nebula

https://www.julesmaeghtgallery.com/boutique/kal-spelletich-solis-and-lun

The Etchings are a collaboration between me, my robots, ARTE-Maeght printshop in Paris and Jules Maeght. The drawing robots were made to draw the sun/moon and quasars with a pen on paper. I replaced the pen with a metal scribe and the paper with treated copper etching plates. The robots scratched one -of-a-kind drawings on the plates and they were printed as an edition.

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As the Jules Maeght Gallery says:
\\\ Can machines have souls? The ability to create art suggests that they can. We are excited to release two new original etchings by Kal Spelletich – in which a robot that he created drew directly on the copper plate.\\\

Drop on by and have a gander! The galleries new show is up and say hey to Jules, Luc and Amelie for me.
I couldn’t be happier!

I hope to see you there,
Kal

Karen Marcello pic

Friday January 19th, 2018, 6-9 P.M.

•January 17, 2018 • Leave a Comment

At The Jules Maeght Gallery In San Francisco.

SolisandLuna copy

 

Disco Ball Video Installation pendulum robot scientist Installation Party.
A party to celebrate my new etchings!

Friday January 19th, 2018, 6-9 P.M.
Derrière Le Miroir closing party and print release of two new original etchings by Me! Kal Spelletich
Made at the historic and prestigious ARTE-Maeght Printshop, Paris, France.

Two etchings of the sun and moon/galaxy and Nebulas.
1. Solis And Luna
2. Orion Nebula
These prints will be for sale at the opening.

Free whiskey if you can catch it! From the Scotch delivery system.

There will be four robots in this exhibit for you to operate.
A whiskey pouring robot.
The two drawing robots that made the etchings.
And a Disco Ball Video Installation Interactive Pendulum Robot
Scientist Perpetual Motion Space and Time Machine Installation.
Yes, that’s right.

For a brief history of the Galleries roots:
https://www.reuters.com/article/us-miro-exhibition/show-explores-art-dealers-friendship-with-greats-idUSTRE48T58I20080930

Whiskey Dispenser:
https://youtu.be/Knu_K3EOpzI

Saturday Dec. 2, 2017, 8:30 P.M. at the LAB

•November 28, 2017 • Leave a Comment

Hacked De Picciotto
Saturday Dec. 2, 2017, 8:30 P.M. at the LAB 2948 16th. St., S.F., Ca.
Two legends from Berlin.
Only one night in San Francisco.
Danielle de Picciotto (Crime & The City Solution) & Alexander Hacke (Einstürzende Neubauten). Yes, them. They are doing a full set.
I am performing briefly with them in a collaborative piece with my robots. Look for an amazing night of sonic joy.
http://www.thelab.org/projects/2017/12/2/danielle-de-picciotto-crime-the-city-solution-alexander-hacke-einstrzende-neubauten

LabNoiseMachine D&A copy

“ILLEGAL

•August 22, 2017 • Leave a Comment

Graffiti-Every-Inch-Illegal-Art-03 copy

For The Exhibit ILLEGAL.


OPENING NIGHT, FRIDAY NOVEMBER 10, 2017.
6:00 P.M.-9 P.M.
THE LUGGAGE STORE Gallery
The Exhibit Lasts through the end of the year of 2017

luggage store_Illegal 2017_front 2

 

Often one sees no other answer but to break the law. This is an exhibit about artists that work while embedded within a system that provides no outlet for them. This is done for various reasons, some art is considered illegal just by making it, obscenity for instance. Other times artists shop lift or acquire materials by spurious means (often called obtanium here in San Francisco). Some artists steal ideas of forge artworks. There is a place artists often land where they see no way to continue with their work without breaking the law. Often artists start their career breaking the law as a way to lash out at a system that negates their existence and leaves no place at the table for them. I was inspired to be an artist by the space left open for ambiguous works that aren’t shoe-horned into a fixed category. A field that is open to just about anything, unlike most careers.

The exhibit will consist of photo documentation, written, videotaped and oral stories, reenactments, ephemera, sculptures, legal support talks, a confessional and more.

There are some classic, even historic examples of this practice.

Werner Herzog

Werner Herzog stole a 35 mm camera from the Munich Film School. In the commentary for Aguirre, the Wrath of God, he says, “I don’t consider it theft—it was just a necessity—I had some sort of natural right for a camera, a tool to work with.”

Gordon Matta Clark

A 1976 show at the Institute of Architecture and Urban Studies in New York featured the work of lots of aspiring young architects, whose designs offered idealized visions of space and the cityscape. This was, of course, the general goal of architecture as a discipline, but Matta-Clark, with his sense for realism, contributed images of vandalized project buildings in the Bronx with their windows blown out. Window Blow-out represented a truth that was largely avoided in conceptual architecture. This juxtaposition was pushed further when Matta-Clark broke into the gallery and shot out several of the windows with an air rifle. Not to mention the countless buildings he dissected and cut up.

 

Terry Fox
http://www.bampfa.berkeley.edu/about/aboutnotedetail.php?Nickname=TXT0011­­

The most infamous piece in the show was Terry Fox’s Defoliation, performed on opening night. To express his anger over the U.S. military’s scorched earth policy in Vietnam, Fox used a flamethrower—the type used in Vietnam to cremate plants—to burn a section of star jasmine plantings on the Berkeley campus.[3]

“This was my first political work. I wanted to destroy the flowers in a very calculating way. By burning a perfect rectangle right in the middle, it would be like someone had destroyed them on purpose. The flowers were Chinese jasmine, planted five years ago, which were to bloom in two years. It was also a theatrical piece. Everyone likes to watch fires. It was making a beautiful roaring sound. But at a certain point, people realized what was going on—the landscape was being violated, flowers were being burnt. Suddenly, everyone was quiet. One woman cried for twenty minutes . . . . So, then, the next day, when these people came to have their lunch there, it was just a burned-out plot, you know. I mean, it was the same thing they were doing in Vietnam, but you burn some flowers that they like to sit near.”

Leonardo da Vinci
He is well known for his anatomical sketches of the human body. He would dissect dead human remains and then draw what he saw.

Dissection was completely illegal unless one was a physician, which da Vinci was not. It is believed that da Vinci would get a grave robbers, and eventually a hospital director to get him cadavers to study. da Vinci hid all of this anatomical drawings and kept them secret because of the illegal nature of what he was doing. He was able to identify not only muscles and bones, but also their functions in the body, which was an incredible breakthrough. Leonardo was detained and questioned for this research for his art.

 

Thanks,
Kal Spelletich