​Kim Glennie, BFA
Media/Sound Artist
Selected Gallery Work:​
DESCRIPTION
2019. Polygon Gallery, North Vancouver.  John Cage's 'Musicircus'. Experimental Media/Sound Art Performance.​
Kim Glennie, Media/Sound Art: guitar/noise/loops/fx/projections.
Sunday, January 13 from 1 – 4pm, The Polygon Gallery staged a performance of Musicircus written in 1967 by legendary composer John Cage. The idea of the piece is simple: as many musicians as possible are invited to perform anything they want and in any way they desire – all at the same time! For Cage, the blurred lines between performer and listener, the lack of a dominant focal point, and the atmosphere of controlled chaos creates a democratic, inclusive piece that mirrors the amiably anarchic society he envisioned.
Performed in conjunction with Hannah Rickards’ installation One can make out the surface only by placing any dark-coloured object on the ground, and in collaboration with the Blueridge Chamber Music Festival, Musicircus is a uniquely powerful act of artistic community. Listeners also participate in the creation of the composition by moving around the venue – in this case, space throughout The Polygon Gallery – thus changing the kaleidoscope of sounds they encounter. As Cage promised, “You won’t hear anything; you’ll hear everything.”
Kim's installation for the event was composed of looped sounds through two amps, which in turn triggered a series of interactive lights and a projection which visualizes the process of intuition and kinetic response. 
Artistic Director: Hannah Rickards; Music Director: Dory Hayley
DESCRIPTION
2011. Museum of Vancouver, Migrating Landscapes. Magnificent Jettison. Kim Glennie: Media Art/Video; DerekDeLand: Architectural Installation.
Migrating Landscapes was Canada's entry to the Venice Biennale. BC Regional Exhibition.  
Media Art collaboration in dialogue with architectural installation by artist/architect Derek DeLand. 
‘Migrating Landscapes’ explores the themes of ‘settling-unsettling’ as a global community attuned to migrating from their origins, and the consequent question of culture, displacement and identity. The biennale’s theme of common ground resonates with Migrating Landscapes, which questions socio-political borders, the migration of people and ideas, and, at its core, exposes attitudes we all hold of others, consciously or unconsciously. A wooden exhibition infrastructure acts as a conceptual landscape onto which each architectural dwelling is settled, with each model representing an act of first im/migration. The landscape is envisioned as a grid mosaic– an abstraction of the physical [configuration], social [relationship], economic [size] and political [hierarchy] conditions that form Canada’s pluralistic cultural identity. The malleable nature of the landscape echoes the idea that, in Canada, a newcomer is not asked to assimilate to a culture, but rather is encouraged to express their personal identity. as such, modified by individual designers and collectives, the landscape, like the dwellings and video narratives placed into it, resonates with the theme of common ground, while revealing ideas surrounding cultural multiplicity and interpretations of [un]settling.’
The team entry from media artist Kim Glennie and artist/architect Derek DeLand, was chosen as part of the regional exhibition at the Musuem of Vancouver for Migrating Landscapes. The media art, videos and models were “settled” into a modular infrastructure, or “new landscape”, made of wood. Derek's models are a suite of three buildings using skatepark ideas as architectural form generators, with the 1969 Apollo moon landings as their organizing metaphor. Named for Buzz Aldrin's phrase "magnificent desolation". Kim's media/sound art and narrative explore the ideas of identity, migration, progress, loss and belonging through the juxtaposition of NASA footage of Saturn V’s rocket stage jettison as visual metaphor of the subjective/individual story of the shifting of the diaspora.
Curatorial Team: 5468796 Architecture Inc.; Jae-Sung Chon.​

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