Welcome to the microsite for Kate Spence and temp0rary’s new work A Garden Party for Her Lady’s Pleasure. While we are keeping most of the details of the performance under wraps until after the event we are pleased to share what we can of the preparations with you. After the event we will be expanding the site with documentation of all stages of the process of putting together what will be an unforgettable evening’s entertainment.
So, for the time being, below you will find details of the event, biographical sketches of the artists and some behind the scenes photographs from the printing of the invitations. We look forward to welcoming you on the 23rd.
You are cordially invited to a garden party
At Her Lady’s Pleasure
An exclusive event for respectable ladies and gentlemen of fine upbringing and moral negotiability.
Partake in the finest delicacies from around the globe for the mirth and stimulation of Her Lady; cavort and participate in the Hysterical Concerto constructed by the court’s alchemists and physicians.
Please arrive at 7pm on Friday, 23rd August, where our disciplined butlers will escort you to our cornucopia of earthly pleasures.
Dress for a decadent evening exploring the boundaries of human sensation.
Kate Spence has been working as a Live Artist since 2011 having previously studied Fine Art, focusing primarily on sound and film installations. Her work is still multidisciplinary, she is interested in the total blurring of boundaries between art forms. Kate creates performative installations that interact with the audience, often through intimate one to one encounters.
Intimacy, desire, human connection and ‘the moment just before’ are strong components to her work, as are power dynamics, often putting the audience member in either the submissive or the dominant role, using sensory and tactile elements to seduce or repulse, or both! She doesn’t do trivial interactions, no mild exchanges, she wants you to feel, and to feel intensely.
Kate has performed for events including Fierce Festival and Junction Festival in the Midlands, ‘Spots’ for Thrust Productions, The Shag and ‘What Audience?’ in London, and Tempting Failure in Bristol where she received an emergent artist bursary and also spoke on the Body and Being in Live Art panel.
Alongside her own artistic practice Kate has curated shows for [STATE] and TROVE, and is Co-Director of Home For Waifs And Strays, a new live art initiative, in Birmingham.
The history of temp0rary stretches back to Lee’s experiments in performance electronics in the mid-1990s. By the middle of the following decade computer technology had caught up with Lee’s vision of creating an entire A/V performance that could be carried in a single suitcase and either performed by an artist (not necesarily the same person who programmed the machines) or installed for an audience to interact with.
Since then, Lee has continued to collect, build and hack equipment to create an electronic performance rig where music and visuals are perfectly synchronised, and where the sonic and visual elements can be infinitely remixed and manipulated in real-time to ensure that it is impossible for each performance to be anything other than unique.
Constantly pushing boundaries, performance highlights have included a three hour set with visuals projected and mixed with other video artists on the giant circular screen of Ron Arad’s installation, Curtain Call at the Roundhouse in Camden and their most recent collaboration, with Hellen Burrough, which brought Tempting Failure 2013 in Bristol to a memorable close.
Lee has, since October 2012, been joined by Adrian Giddings on live visuals and is sometimes also accompanied by Ben McLees of This Is Radio Silence on guitar drones and feedback (though not for this performance).
Although temp0rary question the notion and value of recorded music through infinitely evolving live performances, they have to date released a double-album of recordings and work-in-progress and a live A/V EP entitled v#15130: the only constant is change, both of which are available for free.
To match the overall aesthetic of the performance we decided to hand typeset and print the invitations / tickets and were grateful to be able to do so at the London Centre for Book Arts:
And finally, while we've said we don’t want to give away too much information about the performance in advance, you may gain some cryptic hints about what may be involved from these three photographs of the invites: