McIntyre was invited by Ros Rigby (programme director at the SAGE Gateshead) and Sune Nordgren (director, BALTIC Centre for Contemporary Art) to explore the interdisciplinary potential of mixing traditional music with the drawing processes they saw during a visit to McIntyre’s studio in Newcastle. The developmental framework for the performance involved an extended application of studio practice (McIntyre was supported during this project by a £25,000 Arts Council Award, under the title ‘The Immortal Memory’) to the conventional rehearsal process of performers (in this case Karen Tweed (accordion), Karen Wimhurst (clarinets) and Kerry Fletcher (clog dance)). An audio CD with sleeve notes by Ros Rigby was released on ArtgoesOnRecordLabel, July 2005. www.artgoes.com. This collaborative output was the context for the development of McIntyre’s concept of the ‘fine art artefact for performance’. He established ‘New Constellations for Wind, Sole and Drawing Instruments’ in order to pioneer a method of visual arts research that would address the performative requirements of a project, designed as a dialogue between the traditional and contemporary arts and as a provocative experiment in mixing audiences at the SAGE with those using the nearby BALTIC (where the final piece was performed). McIntyre was also invited to write the introductory essay, entitled ‘The Ubiquitous B’, for B. Year One: BALTIC. (2003), ed. Sarah Martin, Gateshead: BALTIC. The interdisciplinary approach of ‘New Constellations for Wind, Sole and Drawing Instruments’ was used as a model for the development of an AHRC funded doctoral studentship by Harvey entitled: Stuckism and Punk Philosophy: controversialism and the fine art environment. McIntyre is one of the multi-disciplinary supervision team supporting Harvey’s practice-led investigation into the Nietzschian critiques of mainstream art that drive the Punk and Stuckist movements.
|Publication status||Accepted/In press - 6 Nov 2004|