Save Kal’s Robots

Original Burner Kal Spelletich is getting forced out from his storage facility, and is raising funds to assist him move his massive collection of robotics, hardware and tools. Kal was the first to bring robots and flamethrowers to Burning Man. Offered this years I, Robotic theme, you ‘d think the Org could assist. Donate here. Re-blogged from https://www.gofundme.com/save-kals-robots!.?.!I’m getting forced out from my warehouse studio. I urgently need your aid to raise $10K to relocate in the next month. I’ve hand constructed hundreds of robotics, fire makers, and held jaw dropping occasions in the past 25 years in the warehouse. This is where I developed the very first flamethrowers and robotics utilized at Burning Man in the ’90’s. I hosted music, sound and art events with the likes of the Bike Rodeo, Mitch Altman, Matt Heckert of Survival Research Laboratories, Heather Dewey-Hagborg to call a couple of and exhibits with and for many other artists and art groups (more below).

I ran my studio as an experimental art/live area that housed and supported over 100 other artists and activists. All with NO grants, no outside assistance, no gallery sales and no leasing to tech services. In 1995 when I relocated the street was dirt and cluttered with deserted cars and trucks and homeless all over, prostitution rings and crack-heads prowling to rob you.
It was the job that needs to have never worked: an artist supporting artists by sharing listed below market lease.
Yet the 25 year run of people, occasions, displays are a testament to art over commerce.
Now, like virtually all other artists in San Francisco, I’m getting evicted.
I will keep making art. I will keep supporting others who make art and are active for change.
Sincere thanks from the bottom of my heart for any assistance you can offer.
It has actually been a gift to share my area with many remarkable people. I’m looking ahead to how I can keep doing this for the next 25 years.

BACKSTORY
Leased way back in 1995, my space is was among the last staying raw warehouse art areas and I made it into a home for speculative, non industrial art. I hosted jaw-dropping, fire spewing, ear shattering robotic efficiencies, music, noise and art events with the similarity Chris Johanson, Johanna Jackson, Marie Lornez and her legendary boat, the Siblings of Perpetual Extravagance, Matt Heckert.

I held many occasions like a mayoral charity event for the Green Party, art displays, housed checking out artists, when many friends were getting evicted during the first dot-com I supported numerous people in distress, supported homeless folks providing food, nourishment, products and more, authors, dancers, painters and activists; offered emergency art storage and live/ work studios way method under market rates.
I did all this without grants or outdoors support.

No trust funds, customers or high paying side jobs here. I passed along the inexpensive rent.I offered real estate and studios for numerous artists, freaks, traveling activists and extreme journalists like Trevor Paglen, Air Conditioner Thompson, Heather Dewey-Hagborg, worked on Survival Research study Laboratories reveals, and many others.
My life and storage facility were the motivation for Rudy Rucker’s sci-fi novel
Realware. Another book that wouldn’t have actually happened without my storage facility is Streetopia. Here’s some of what I’ve accomplished in the 25 years of working gradually in one location:

As seen on the Discovery Channel this previous year, I developed some 16′ high mind-reading Robotics with Mitch Altman

OMG I remained in the

New York Times! Thrice! Here I am waxing poetically in a short doc with some shots of the studio I am losing.140 K views, this was noted as the most dangerous art in the

world in an short article: This was done by some university student that went on to win awards and introduce their careers.I was the first to bring robotics and flamethrowers to Burning Man.For more see here: https://kaltek.wordpress.com/pressmedia/ This minute is distinctively busy: I am producing pieces for my very first museum show at St. Mary’s College Art Museum in Moraga, CA in 2019 and a concurrent solo show at Catherine Clark Gallery in San Francisco.Over the past 2 months considering that getting the notice to get out, I have actually undergone enormous

upheaval.Over the previous 38 years I have actually constructed momentum. Losing this is NOT an option.REQUEST I’m asking for$10K.$50K, including payments in-kind(temporary workshop and storage)so far, is my minimum to keep going; to relocate some of my tools and
all my jobs to a brand-new long-term studio space and get robot storage as quickly as possible.In-kind payments from friends currently: a momentary workshop, short-lived storage for a few of my work and recommendations to an occupant’s rights lawyer.I have actually been granted a spot at the Stochastic Labs to work on my artificial organ job this summer.And I sort of have a live space.NEED BREAKDOWN– Vacate: debris boxes, rental truck, labor, carrying $20K– Permanent storage: a barn or a shipping container and/or a space to park it in the Greater Bay Location(another payment in kind chance!)$10K– Attorneys costs:$ 10K (and up)With another$10K I can breathe a sigh of relief as far as paying MORE attorneys (ugg),

more moving & carrying expenses, equipping new workspace, overhead for long term storage(some robots

are BIG), and preparing for upcoming exhibits in the Fall of 2018 and all of 2019( some of the very best chances of my profession). THREATS AND DIFFICULTIES My entire art profession has actually been a danger and an obstacle. I’m on year 38 as an artist.I’m working to make whatever fall into location to keep momentum for the next & few years– a few of the most crucial in my life.A main concern is my old, exhausted body. Formerly damaged fingers and limbs– my art injuries-flare up from time to time. One is absolutely nothing without their health.Sorting through and moving 25 years of equipment and products on my own

is a major challenge.There’s always a threat with a tenant’s lawsuit. It might lose and if it does it’s possible I could be demanded a lot more than I have actually ever made or will ever make in the rest of my life. A lot more than I’m requesting best now.From my activist work, arranging marches, prop

making and self survival and safety in violent confrontations with power, to taking a trip the world revealing and making art, in India, Africa, all over the

U.S. and Europe the 25 years in this area have actually been magnificent, as an artist, not going to

stop, ever, this I know. The challenge is to keep that momentum moving on at this stressful and important juncture.———— Karl Marx was right, Commercialism does not work without gaming personal property!I never gamed this art area, never ever leased to tech brothers or overcharged renters. Some stated I was a fool, I just did what I hoped somebody would do for me.———- ABOUT ME For 38 years, Kal has actually been exploring the interface of human beings and robots, utilizing innovation to put people back in touch with real-life experiences. His work is interactive, requiring participants to get in or run his pieces, often versus their instincts of self-preservation. He probes the boundaries in between fear, control and excitement by giving his audience the opportunity to operate and manage remarkable and typically harmful machinery.Born and raised in Davenport, Iowa, the seventh of 9 children. He has a bachelor’s degree from the University of Iowa, and an M.F.A. from The University of Texas at Austin, both in the field of Media Art. He has actually performed, exhibitedand lectured worldwide, teaming up with researchers, musicians, and politicians. Spelletich’s work has actually been included in many museum and gallery exhibitions over the past three years, consisting of the De Young Museum, SFMOMA, The Exploratorium Museum and Yerba Buena Center for the Arts, S.F., Ca., California Folk Art Museum, L.A., CA, Oakland Museum of California, Oakland, CA, and Headlands Center for the Arts, Marin, CA. He has shown internationally in Namibia,

India, The Netherlands, Switzerland, Germany, Croatia, France, Czech Republic, Holland, England, Slovakia and Austria. Spelletich lives and operates in San Francisco, California.In 2019 his work will be displayed in a solo museum exhibit at St. Mary’s College of Art Museum in Orinda, CA, and a concurrent solo exhibition at the Catharine Clark Gallery in San Francisco, CA along with other shows.