Jill Magid
Transcripción
Jill Magid
Jill Magid La artista y escritora Jill Magid explora la intimidad y el secreto dentro de los sistemas de poder. Su trabajo se desarrolla a partir de sus propias experiencias dentro de estos sistemas, incluidos los militares ( al entrar para incrustar en el Ejército de EE.UU. en Afganistán), la policía (al ser seguida por el departamento de la policía de Liverpool a través de su sistema de circuito cerrado de televisión en dicha ciudad), y el servicio secreto (al ser entrenada como espía comisionada por servicio secreto holandés), una organización que eventualmente confiscaría su trabajo de la Tate Modern de Londres. Islas Chrissy, director de curaduría del Whitney Museum en la ciudad de Nueva York, observa que “el trabajo de Jill Magid es incisivo en su cuestionamiento poético de la ética de la conducta humana y las estructuras ocultas políticas de la sociedad. Sus inteligentes estrategias conceptuales involucran al espectador en una experiencia estética absorbente e intelectual que revierte los supuestos convencionalismos del poder, clandestinidad, control y el espacio social. “ Magid ha tenido exposiciones individuales en diversas instituciones , incluyendo la Tate Modern, Whitney Museum of American Art, Berkeley Art Museum, Tate Liverpool, Stedelijk Museum Bureau Amsterdam, Yvon Lambert (París y Nueva York), Gagosian Gallery, Nueva York. Artist and writer Jill Magid explores themes of intimacy and secrecy within systems of power. Magid’s work develops from her own experiences inside these systems, including the military (being trained to embed with the US Army in Afghanistan), the police (being followed by the Liverpool Police Department through it’s city-wide CCTV system), and secret service (being mentored as a spy after being commissioned by the Dutch Secret Service), an organization that would eventually confiscate her work from the Tate Modern in London. Chrissy Isles, Senior Curator of the Whitney Museum, remarks that “the work of Jill Magid is incisive in its poetic questioning of the ethics of human behavior and the hidden political structures of society. Her intelligent conceptual strategies engage the viewer in an absorbing aesthetic and intellectual experience that turns conventional assumptions of power, secrecy, control and social space inside out.” Magid has had solo exhibitions at various institutions around the world including Tate Modern; Whitney Museum of American Art; Berkeley Art Museum; Tate Liverpool; Stedelijk Museum Bureau Amsterdam; Yvon Lambert (Paris and New York); Gagosian Gallery, New York. Jill Magid Failed States, 2011 1993 Mercedes Benz 300TE station wagon armored to B4 level 149,8 x 464,8 x 195, 5 cm On January 21, 2010, 24-year-old Fausto Cardenas fired six shots from a small caliber handgun into the air from the steps of the Texas State Capitol. Coincidentally, Jill Magid was present as a witness. Fausto’s motivations still remain unknown. In Failed States, Magid draws connections between Fausto’s futile and tragic act and Goethe’s nineteenth-century epic poem, Faust. Magid mines Faust for thematic connections and develops a means of performative exhibition, treating the gallery as a stage to be read. Jill Magid The Capitol Shooter: Breaking News, 2011 Archived news footage TRT 9.15 min (Pág anterior) Estados Fallidos, 2011 1993 Mercedes Benz 300TE Camioneta blindada nivel B4 149,8 x 464,8 x 195, 5 cm El 21 de enero de 2010, Fausto Cárdenas, 24 años, realizó 6 disparos desde una pistola de bajo calibre al aire desde la escalinata del Capitolio del estado de Texas. Coincidentalmente Jill Magid estaba presente. Las motivaciones de Fausto siguen siendo desconocidas. En Estados Fallidos, Magid traza conecciones entre el acto futil y tráfico de Cárdenas y el poema épico del siglo XIX de Goethe, Fausto. Magid siembra Fausto de conecciones temáticas y desarrolla un método para una exhibición performativa, utilizando la galería como un escenario para ser leído. Jill Magid Installation View: Failed States, Honor Fraser, Los Angeles CA, USA, 2012 Jill Magid Vista de instalación: Estados Fallidos, Honor Fraser, Los Angeles CA, Estados Unidos, 2012 Jill Magid Six Empty Shells, 2011 Wall installation 50,8 x 76,2 cm Jill Magid Seis casquillos vacíos, 2011 instalación en pared 50,8 x 76,2 cm Jill Magid Exit, 2011 Archival print on paper 81,2 x 116,8 x 7,6 cm Jill Magid Salida, 2011 Impresión de archivo en papel 81,2 x 116,8 x 7,6 cm Jill Magid Six Shots from The Capitol Steps, 2011 Digital chromogenic print| Seis disparos desde la escalinata del Capitolio, 2011 impresión digital cromogénea 50,8 x 40,6 cm, framed | enmarcado Jill Magid Fiction, 2011 Silkscreen on paper | Ficción | Serigrafía en papel 81,2 x 121,8 cm Jill Magid Live Stream, 2012 Live stream of the sky above the Texas State Capitol, Austin, TX Dimensions Variable | Seis disparos desde la escalinata del Capitolio, 2011 impresión digital cromogénea Jill Magid Fausto and Letter to Fausto, 2011 I Facsimile of letter with Spanish translation, marked book: 20,3 x 10,1 cm Letter: 20,3 x 28 cm | Fausto y Carta para Fausto, 2011. 1 facsímil de letra con traducción al español. Libro marcado: 20,3 x 10,1 cm Carta: 20,3 x 28 cm Jill Magid Tooley, A Tragedy , 2012 (video still) 5 channel video installation, 13:47min The Status of the Shooter is the search for a body amid the moral panic and institutional response to a school shooting. Late in 2010, Colton Tooley, a math student at the University of Texas at Austin, wearing a ski mask and armed with an AK-47, walked through campus firing shots into the air and ground. Seemingly without intention to hurt anyone but himself, Cooley’s route was completed when he committed suicide in the Comparative Literature and Poetry section on the sixth floor of The Perry-Castañeda Library. Magid, who had coincidentally been visiting Austin at this time researching another highly publicized shooting, made an Open Records Request to the UT Police Department asking for any information on Tooley’s suicide. In return, she received a package containing the “dash-cam” surveillance footage recorded by each of the five police officers called to the scene of the crime, and the recordings of all of the 911 calls related to the incident. Hoping to gain insight into Tooley’s actions, Magid returns to the fictional drama, Geothe’s Faust, whose themes have informed her recent body of work. In the installation, which includes a five-channel video piece, audio works, and sculptural elements, she has synchronized and transcribed video and audio footage to reframe the narrative as if written for the public stage. Jill Magid Tooley, Una tragedia, 2012 (imagen de video) instalación de video de 5 canales 13:47min ‘El estado del disparador’ es la búsqueda de un cuerpo entre el pánico moral y la respuesta institucional a un tiroteo escolar. En los últimos meses del 2010, Colton Tooley, un estudiantre de matemáticas en la Universidad de Texas en Austin, usando una máscara negra de ski y armado con una AK-47, entró el campus disparando tiros al aire y el suelo. Aparentemente sin intención de lastimar a nadie más que a él mismo, la ruta de Cooley se completó cuando se suicidó en el sexto piso de la Biblioteca Perry-Castañeda en la sección de Literatura y Poesía Comparada. Magid, quien coincidentalmente estaba visitando Austin para investigar otro tiroteo, realizó una solicitud oficial al Departamento de policia local pidiendo información sobre el suicidio de Tooley. En respuesta, recibió un paquete que contenía la grabación en video de seguridad de cada uno de los oficiales de policia que atendieron la emergencia de aquél día, así como todas las llamadas que se hicieron al 911 desde la escena del crimen. Intentando Con la esperanza de obtener una mejor perspectiva de las acciones de Tooley, Magid va aal drama de ficción de Geothe Fausto, cuyos temas han informado su reciente cuerpo de trabajo. En la instalación, que incluye una pieza de cinco canales de vídeo, obras sonoras y elementos escultóricos, se ha sincronizado y transcrito vídeo y audio para replantear la narrativa como si estuviese escrita en el escenario público. Jill Magid Tooley, A Tragedy, 2012 (still) 5 channel video installation | Tooley, Una tragedia, 2012. Instalación de video de 5 canales 13:47min Jill Magid Security Measures: Only Open The Windows If Absolutely Necessary, 2012 Mirror, hanging brackets with fasteners, dimmer, power supply Medidas de Seguridad: Solo abra las ventanas si es absolutamente necesario, 2012. Espejo, ganchos, dimmer, electricidad. 183 x 46 cm Jill Magid Security Measures: Pay Attention to Who is Directly in Front of You, 2012 Mirror, hanging brackets with fasteners, dimmer, power supply Medidas de Seguridad: Ponga atención a quien está directamente frente a usted, 2012. Espejo, ganchos, dimmer, electricidad. 183 x 46 cm Jill Magid Faust, A Tragedy Abridged, 2012. Faust, A tragedy Abridged (torn hardcover book); Cooley A Tragedy (signature) and vitrine Fausto, Una tragedia abreviada, 2012. Fausto, una tragedia abreviada (portada de libro rota); Cooley Una tragedia (firma) y vitrina. 99 x 36,5 x 109,5 cm Jill Magid Installation View: Closet Drama, Berkeley Art Museum, Berkeley CA, USA, 2011 Closet Drama has its roots in present-day events as they intersect with governmental power. Magid, who oddly enough was visiting Texas to research snipers, witnessed a mysterious shooting on the steps of the Texas State Capitol by Fausto Cardenas in January 2010. Nothing is known of Cardenas’s motivations, but his gesture of shooting into the sky from the Capitol steps— in full view of security—reads as a tragic and poetic dramatic act. Magid connects Fausto’s action to Goethe’s Faust, originally written as a “closet drama,” a kind of intimate reading that functions as a theater of the mind. In Faust, Magid finds both thematic connections and a form of performative exhibition, as symbolic and narrative triggers from the play Faust and the actions of Fausto intermingle. Jill Magid Vista de instalación: Closet Drama, Berkeley Art Museum, Berkeley CA, USA, 2011 Drama de Closet tiene sus raíces en los acontecimientos de hoy en día cuando se cruzan con el poder gubernamental. Magid, que curiosamente estaba de visita en Texas para investigar a francotiradores, fue testigo del tiroteo misterioso en las escaleras del Capitolio Estatal de Texas de Fausto Cárdenas en enero de 2010. No se sabe nada de las motivaciones de Cárdenas, pero el gesto de disparar hacia el cielo desde el Capitolio a unos pasos de la seguridad del lugar se lee como un acto dramático trágico y poético. Magid conecta la acción de Fausto con el Fausto de Goethe, Escrito originalmente como un “drama de closet”, una especie de lectura íntima que funciona como un teatro de la mente. En Fausto, Magid encuentra ambas conexiones temáticas y una forma de exposición performativa. Jill Magid The Deed 2011, Six translations of Faust, 6 channel audio; 12:15 min., looped | La tarea. Seis traducciones de Fausto, audio en 6 canales en loop. Stage Direction: [Shots fired skyward.] 2011 Vinyl on wall | Dirección de escena: [disparos realizados en dirección al cielo] The Sky Above the Capitol Steps, 2011 Live feed | El cielo sobre la escalinata del Capitolio. Transmisión en vivo. Jill Magid The Deed, 2011 Silkscreen on paper | La Tarea, Serigrafía en papel. 110,5 x 76,2 cm Jill Magid Installation View: Closet Drama, Berkeley Art Museum, Berkeley CA, USA, | Vista de instalación: Drama de clóset. 2011 Detail of Left Wall: Stage Direction: Enter MAGID Vinyl on wall | Detalle en pared izquierda: Dirección de escena: Enter MAGID en pared Fiction Silkscreen on paper | Ficción, Serigrafía en papel The Deed Silkscreen on paper | La tarea, serigrafía en papel Jill Msgid A Reasonable Man in a Box, 2010 Detail from video projection, 2010 Video and sound component on a mac mini, wall paper and silkscreen Dimensions variable Developed for the Whitney Museum of American Art’s first-floor Anne & Joel Ehrenkranz Gallery, A Reasonable Man in a Box takes its point of departure from the “Bybee Memo”, a controversial 2002 document signed by Jay Bybee, Assistant Attorney General of the United States Department of Justice’s Office of Legal Counsel, and de- classified by President Obama in 2009. The document discusses acceptable methods of “enhanced interrogation” of a high-level Al Qaeda operative, including the use of a confinement box. As Whitney curatorial assistant Nicole Cosgrove writes in the introductory text, “A Reasonable Man in a Box explores the perversion of reason, and the malleability of language and law. Jill Msgid Un hombre razonable en una caja, 2010 Detalle de video proyección, 2010 Componente de audio y video en una mac mini, papel tapiz y serigrafía Dimensiones variables Desarrollado para la galería Anne & Joel Ehrenkranz Gallery en el primer piso del Whitney Museum of American Art, Un hombre razonable en una caja parte de “Bybee Memo”, un controversial documento de 2002 firmado por Jay Bybee, Secretario de Justicia Auxiliar de la Oficina del Asesor Legal del Departamento de Justicia de Estados Unidos, de-clasificado por el Presidente Obama en 2009.El documento discute métodos aceptables de ‘interrogación mejorada’ para un alto operativo de Al Qaeda, incluyendo una caja de confinamiento. Como la asistente uratorial Nicole Cosgrove escribe en el texto introductorio, “Un hombre razonable en una caja explora la perversión de la razón y la maleabilidad del lenguaje y la ley.” Jill Msgid A Reasonable Man in a Box, 2010 Detail from video projection, 2010 Video and sound component on a mac mini, wall paper and silkscreen Dimensions variable | Un hombre razonable en una caja, 2010 Detalle de video proyección, 2010 Componente de audio y video en una mac mini, papel tapiz y serigrafía Dimensiones variables Jill Magid The Shepherds, 2007-2008 Bronze 22,9 x 30,5 x 25,4 cm | Los pastores, 2007-2008. Bronce 22,9 x 30,5 x 25,4 cm Jill Magid My Sensitivity, 2007 Four color silkscreen on Reeves BKF paper | Mi sensibilidad, 2007. Serigrafía de cuatro colores sobre papel Reeves BKF 69,9.x 111,8 cm The Kosinski Quotes Cockpit, una novela de Jerzy Kosinski, funcionó como mi guía para ser un ‘colibrí’, un espía tan encubierto que incluso otros espías no saben de su existencia. Los Hummingbirds toman distintos roles en la sociedad, incluyendo el de artistas. Las citas fueron escaneadas del libro. El sistema de color está basado en la práctica del AIVD de resaltar texto con marcador antes de ser censurado. Esto se mezcló con mi sistema personal de resaltado. The Kosinski Quotes Cockpit, a novel by Jerzy Kosinski, functioned as my guide on how to be a hummingbird, a spy so deep undercover that even the other spies are unaware of his existence. Hummingbirds take on various ‘public’ roles in society, in- cluding that of an artist. The quotes were scanned from the book. The color system is based on the AIVD’s practice of highlighting text in yellow to be censored, mixed with my personal system of marking. I Can Burn Your Face, 2009 7mm neon, transformers and wires Dimension variable | Puedo quemar tu rostro, 2009. Neon de 7 mm, transformadores y cable. ‘To burn a face’ is the phrase used within the AIVD meaning to expose a source’s identity. I wrote descriptions of each agent I interviewed in my notebooks ̄18 in total ̄and then used these descriptions to burn them. The neon words are lifted directly from my notebooks, and are in my handwriting. ‘Quemar el rostro’ es una frase utilizada por el AIVD que significa exponer la identidad de una fuente. Escribí las descripciones de cada agente que entrevisté, 18 en total, y después utilicé estas descripciones para ‘quemarlos.’ Las palabras de neon se copiaron de la letra en mi libreta. Jill Magid Becoming Tarden, 2009 C-Print 29,8 x 44,5 cm The confiscation of the body of the book by the AIVD on January 4, 2010 | La confiscación del cuerpo del libro por la AIVD en enero 4, 2010 The book along with Jill Magid’s letter to the AIVD, and the Tate’s ‘Authority to Remove from Site’ Form | El libro y la carta de Jill Magid al AIVD, y la forma del Tate de‘Autoridad para remover del sitio‘ la obra. Jill Magid Love, 2007 | Amor C-Print 56,7 x 111,8 cm Jill Magid NYC Police Radiotelephony Alphabet, 2007 | Alfabeto de radiotelefonía de la policía de la ciudad de Nueva York. C-Print 85,1 x 119,4 cm Jill Magid Trust, 2004 (video still) DVD, edited CCTV footage and audio, 18 min In 2004, Jill spent 31 days in Liverpool, during which time she developed a close relationship with Citywatch (Mer- seyside Police and Liverpool City Council), whose function is citywide video surveillance- the largest system of its kind in England. The videos in her Evidence Locker were staged and edited by the artist and filmed by the police using the public surveillance cameras in the city centre. Wearing a bright red trench coat she would call the police on duty with details of where she was and ask them to film her in particular poses, places or even guide her through the city with her eyes closed, as seen in the video Trust. Jill Magid Confianza, 2004 (fotografía de video) DVD, material de CCTV editado y audio, 18 min En 2004, Jill pasó 31 días en Liverpool, durante los cuales desarrolló una relación cercana con Citywatch (la policia de Merseyside y Liverpool), cuya función es la vigilancia de toda la ciudad con el sistema más grande de su tipo en el Reino Unido. Los videos en su Locker de Evidencias fueron actuados y editados por la artista y filmados por la policia usando las cámaras de vigilancia de la ciudad. Utilizando un abrigo rojo brillante, Magid pudo llamar a la policia en turno para darles datos y pedir ser localizada y filmada en poses particulares o lugares o incluso para guiarla a través de la ciudad con los ojos cerrados, como se ve en el video Trust (confianza). Jill Magid Incident_Retreived, 2004 DVD, Edited CCTV, 7 min |Incidente grabado Jill Magid One Cycle of Memory in the City of L. , 2004 Printed Book, 80 pages. Unless requested as evidence, CCTV footage obtained from the system is stored for 31 days before being erased. For access to this footage, Magid had to submit 31 Subject Access Request Forms - the legal document necessary to outline to the police details of how and when an ‘incident’ occurred. Magid chose to complete these forms as though they were letters to a lover, expressing how she was feeling and what she was thinking. These letters form the diary One Cycle of Memory in the City of L- an intimate portrait of the relationship between herself, the police and the city. Jill Magid Un ciclo de memoria en la ciudad de L. , 2004 libro impreso, 80 páginas. A menos que sea solicitado como evidencia, las grabaciones obtenidas por CCTV son guardadas en su sistema por 31 días antes de ser borradas. Para acceder a estas grabaciones, Magid tuvo que ingresar 31 peticiones de Acceso de Tema -el documento legal necesario para delinearle a la policia los detalles de cómo y cuándo sucedió un incidente. Magid optó por escribir estas formas como si fueran una carta a un amante, expresando lo que sentía y pensaba. Estas cartas forman el diario ‘Un ciclo de memoria en la ciudad de L, un retrato íntimo a la relación entre ella, la policia y la ciudad. Jill Magid Auto Portrait Pending, 2005 Gold ring with empty setting, ring box, corporate and private contracts | Autoretrato pendiente, Anillo de oro con moldura vacía, contratos corporativos y privados Dimension variable Jill Magid Auto Portrait Pending, 2005 Gold ring with empty setting, ring box, corporate and private contracts Dimension variable Jill Magid Auto Portrait Pending, 2005 Gold ring with empty setting, ring box, corporate and private contracts Dimension variable Jill Magid The Salem Diamonds, 2006 Memorial Proposal presented to the Memorial Committee at the Oregon State Senate in Salem, Oregon. May 8, 2006. 3,489 Swarovski crystals, to be replaced by diamonds. New York Times. Cover article, March 14, 2005 The diamonds will be created from the cremains of 3,489 deceased, mentally ill patients, still unclaimed and kept in storage at The Oregon State Hospital. Pending approval decision. JILL MAGID Bridgeport, Connecticut, 1973 Vive y trabaja en Brooklyn, Nueva York, Estados Unidos. Educación: 1998-2000 Massachusetts Institute of Technology, Masters of Science in Visual Studies, Cambridge, Massachusetts, Estados Unidos. 1991-1995 Cornell University, Bachelor of Fine Arts, Ithaca, Nueva York, Estados Unidos. Residencias: 2006-2007 Eyebeam, Artist in Residence, Nueva York, Estados Unidos. 2001-2002 Rijksakademie van Beeldende Kunsten, Ámsterdam, Países Bajos. 1994 Lorenzo de Medici, Florencia, Italia. Reconocimientos y becas: 2006 Basis Stipendium, Fonds Voor Beeldende Kunsten, Pa.ses Bajos. 2001-2002 The Netherland-America Foundation Fellowship, Fulbright Grant 1998 Jacob K. Javits Fellowship, American Federal Government Fellowship Exhibiciones individuales: 2014 Woman With Sombrero. Yvon Lambert. París, Francia 2013 Woman With Sombrero. New Commissions, Art in General. Nueva York, Estados Unidos. Jill Magid as part of Art Basel Parcours. Junio Jill Magid at Raeber von Stenglin, Independent 2013, Nueva York, Estados Unidos. 2012 Faust 24 Labor, Ciudad de México, México. Failed States Honor Fraser Gallery, Los Ángeles, Estados Unidos. The Status of the Shooter Yvon Lambert, París, Francia. Failed States AMOA-Arthouse, Austin, Texas, Estados Unidos. 2011 Closet Drama, Berkeley Museum of Art, California, Estados Unidos. 2010 A Reasonable Man In A Box, Whitney Museum of American Art, Nueva York, Estados Unidos. 2009 Objects To Be Handed Over or Destroyed, Yvon Lambert, Nueva York, Estados Unidos. The Thicker the Glass, Yvon Lambert, París, Francia. Authority to Remove, Tate Modern, Londres, Inglaterra. 2008 2007 Article 12, Stroom and The AIVD (The Secret Service of the Netherlands), The Hague, Pa.ses Bajos. With Full Consent, Gagosian Gallery, Nueva York, Estados Unidos. 2005 Libration Point, Stedelijk Museum Bureau Amsterdam, Pa.ses Bajos. Evidence Locker, Technical University Eindhoven, Países Bajos. Gambier Night, Public projection, Tschumi Pavilion Groningen, Países Bajos. 2004 2003 2002 2001 Thomas Makes a Wish, Galerie L’Observatoire, Bruselas, Bélgica. Tall Tale Small Scale, Galerie van Gelder, Ámsterdam, Países Bajos. Facades, Museum Van Loon, Ámsterdam, Países Bajos. Rhinestoning Headquarters (by System Azure), permanent installation, Amsterdam Police Headquarters, Ámsterdam, Países Bajos. Facades, Museum Van Loon, Ámsterdam, Países Bajos. Intimates Unfolding, Xth Avenue Lounge, Nueva York, Estados Unidos. Monitoring Desire Harvard Science Center, MIT Thesis Performance, Cambridge, Massachusetts, Estados Unidos Lobby 7 MIT main lobby, Cambridge, Massachusetts, Estados Unidos. Exhibiciones grupales: 2014 The Crime Was Almost Perfect. Witte de With Center for Contemporary Art. Holanda. 2013 Random House. Arcadia Miss. Londres, Inglaterra. Gotenburg Biennial. Curada por Joanna Waraza, Suecia. Monkey Business: The Paradox of Value. Curada por Gregory Lang y Sphie Scheidecker. Galería Sophie Scheidecker. París, Francia. Seven On Seven. Jill Magid con Dennis Crowley Rhizome. Auditorio Tishman en la New York School. Nueva York, Estados Unidos. The Book Lovers Elizabeth Foundaton of the Arts (EFA). Nueva York, Estados Unidos. No One Lives Here. Royal College of Art. Londres, Inglaterra. Now Here is Also Nowhere. Part 1 Group exhibition. Henry Art Gallery, Seattle, Washington, Estados Unidos. “Four Nights, Four Decades” Video Series Screening. The Power Station, Dallas, Estados Unidos. Sculpted Matter Group exhibition. Paul Kasmin Gallery, Nueva York, Estados Unidos. Mind the System, Find the Gap Z33, Bélgica. Bucharest Biennial 5 Romania. Curated by Anne Barlow, Rumania. Cancelled The Center for Book Arts, Nueva York, Estados Unidos. Campaign C24 Gallery, Curada por Amy Smith-Stewart. Nueva York, Estados Unidos. Who’s Afraid of Red, Yellow, and Blue? La Maison Rouge, Curada por David Rosenberg. París, Francia. Museum of Display, EXTRA CITY, Antwerp, Bienal de Signapur. Sorting Daemons: Art, Surveillance Regimes and Social Control, Gallery of Mississauga, Ontario, Canadá. Secret Societies, Schirn Kunsthalle, Frankfurt, Alemania. FREE, New Museum, Nueva York, Estados Unidos. A Place out of History, Museo Tamayo, Ciudad México, México. A Theory of Vision: A Review, Centrum Sztuki Wspotczesnej Zamek 2012 2011 2010 Ujazdowski, Polonia. History of Art, The David Robert Art Foundation, Londres, Inglaterra. S.M.A.K Going GAGA, Museum S.M.A.K presents GAGARIN The Artists in their Own Words, Ghent, Bélgica. Assume the Position, Townhouse Gallery, El Cairo, Egipto. 2009 2008 2006 2005 2004 2003 2002 PLOT, Creative Time, Governorʼs Island, Nueva York, Estados Unidos. Image Search, P.P.O.W., Nueva York, Estados Unidos. Espàces dʼespaces, Yvon Lambert, Nueva York, Estados Unidos. Closer, Beirut Art Center, Líbano. Capital Jewelers, Dust Gallery, Las Vegas, Estados Unidos. Naked Life, Museum of Contemporary Arts Taipei, Taipei, Taiwan. Lost and Found Video Screening, Art in General, Nueva York, Estados Unidos. Balance and Power: Performance and Surveillance in Video Art, Rose Art Museum, Waltham, Massachusetts, Estados Unidos. The 7th Side of the Die, Alona Kagan Gallery, Nueva York, Estados Unidos. Intimate Relations…The Poetry Project, St. Mark’s Church, Nueva York, Estados Unidos. Composite, Alona Kagan Gallery, Nueva York, Estados Unidos. Supervision: Jill Magid and Nicoline van Harskamp, UCR Museum of Photography, Riverside, California, Estados Unidos. And the Story Begins, Galerie van Gelder, Ámsterdam, Países Bajos. Berlin Art Fair, Galerie van Gelder, Berlín, Alemania. Balance and Power, Krannert Art Museum, Champaign, Illinois, Estados Unidos. Positioning statement, Image Cairo 3, Townhouse Gallery, El Cairo, Egipto. DMZ 2005_Korea, A project between North and South Korea, Heyri Art Village, Paju, Corea del Sur. HTMiles, International Biennial of Cyberart, Montreal, Canadá. ADAM, Smart Project Space, Ámsterdam, Países Bajos. On Patrol, De Appel, Ámsterdam, Países Bajos. Evidence Locker, Tate Museum Liverpool and FACT, Liverpool Biennial, Liverpool, Reino Unido. Retrieval Room, FACT, Liverpool Biennial, Liverpool, Reino Unido. Video Program, De Balie, Façade Screen, Ámsterdam, Países Bajos. Kunstrai, Galerie van Gelder, Ámsterdam, Países Bajos. FILM@33, TURF, Brooklyn, Nueva York, Estados Unidos. Yellow Pages, Turm Gallery, Alemania. Surveillance and Control, World-Information Exhibition, Ámsterdam, Países Bajos. Museum Night: Home Movies, Museum Van Loon, Ámsterdam, Países Bajos. Married by Powers with Paulina Olowska, TENT, Rotterdam, Países Bajos. Bibliografía 2010 Straus, Michael. “JILL MAGID A Reasonable Man in a Box”, Brooklyn Rail, septiembre. Hayward, Camille, “A Reasonable Man in a Box”, Whitewall, Julio, 2010. “Dutch Secret Service Take Custody of Jill Magidʼs Art”, Artdaily.org, octubre. Crow, Kelly, “Jill Magid Manuscript Confiscated Following Tate Modern Exhibit”, Wall Street Journal, enero. Ashton, Sean, “From Physical Object to Literary Text”, MAP magazine, Issue 21, primavera, pg. 60-65 2009 Bigalke, Nina and Kisch, Sean, “Licensed to thrill: Artist Jill Magid at Tate Modern”, The Guardian, video,diciembre. Crow, Kelly. “An Artist Delves Into the Lives of Spies”, Wall Street Journal, septiembre 19. Gerrity, Jeanne. “Secret Agency: Jill Magid at Yvon Lambert.” Rhizome.org. Octubre 15. Oddy, Jason, “An outsiders guide to getting inside places only insiders normally get to go,” Art on Paper,Vol.13, No.5, Mayo / junio, pg. 58-71 Smallenburg, Sandra. “AIVD liet kunstwerk maken, maar kreeg koudwatervrees”, NRC Handesblad,septiembre 23 Stroobants, Jean-Pierre. “Petits couacs entre une artiste am.ricaine et des agents secrets n.erlandais ”, Le Monde, octubre 16. Wiseman, Eva. “Is it Art? Search Me… Why Jill Magid Loves an Authority Figure.” TheObserver. septiembre 27. 2008 Tate Modern Unveils its Latest Level 2 Exhibition: Authority to Remove by Jill Magid, Artdaily.org, septiembre12. Hartjes, Nathalie, “Kunst voor de veilgheidsdienst,” Den Haag Centraal, abril 25, Jill Magid interviews Sophie Calle, Tokion, Fall 2008, pg.46-53 Mebius, Bert, “Het gezicht van de AIVD,” Groene Amsterdammer, May 16. Rosenberg, Karen, “The New Normal,” The New York Times, June 13, 2008, p. E26 Smallenburg, Sandra, “Best of 2008,” NRC Handlesbad, Pa.ses Bajos. Smallenburg, Sandra, “Het menselijk gezicht van de veiligheidsdienst,” nrc.next, mayo 8. Smallenburg, Sandra, “Hoe spionnen ogen,” NRC Handelsblad, mayo 2. Staffhorst, Maaike, “AIVD doorgelicht door kunstenaar,” De Telegraaf, April 25. Stoffelen, Anneke, “Uren praten met Miranda I, II of III,” de Volkskrant, abril 23. Pi.t, Hans, “Geheime Dienst toonst menselijke trekjes,” De Kleine Posthoorn, abril 18. Van den Dikkenberg, Rutger, “Anonieme AIVDers aan het word,” PM, het magazine voor de overheid, mayo. Van der Goes, Bernadette, “Article 12,” BinnensteBuiten, blad Ministerie van Binnenlandse Zaken en Koninkrijksrelaties, mayo 14. 2007 Boucher, Brian, “Jill Magid at Gagosian Gallery,” Art in America, diciembre. Bentley, Kyle, “Jill Magid at Gagosian Gallery,” Artforum, octubre 2007, p. 371. Chamberlain, Colby, “Jill Magid at Gagosian Gallery,” Artforum.com, julio 13. Eleey, Peter, “Famous in 2112?,” ArtNews, noviembre. Kilston, Lyra Liberty, “Jill Magid at Gagosian Gallery,” Modern Painter, octubre. Rubin, Elizabeth, “Permission is a Material and Changes the Worksʼ Consistency,” Bidoun, Issue #10 Smith, Roberta, “Jill Magid at Gagosian Gallery,” The New York Times,julio 27, 2007, p. E32. “Jill Magid,” New York Magazine, julio 16. 2005 Farver, Jane, “Jill Magid-Libration Point,” Stedelijk Museum Bureau, Ámsterdam, Países Bajos, No.89, noviembre. Reinders, Arjan, “Recontructie Van,” Kunstbeeld, noviembre 2005, p. 12-15 de Ruiter, Marinus, “Watching the Detectives Watching,” Amsterdam Weekly, noviembre 10-16, 2005, p. 11 “On Patrol,” De Appel Reader, No.3. 2004 Doherty, Claire, “Location Location,” Art Monthly, noviembre, p. 7-10. 2003 Zacks, Stephen, “The Glam Cam,” Metropolis, octubre, p.28. Performances/ Lecturas: 2012 Failed States, A Reading at Download Press Release Art in General, Nueva York, Estados Unidos. Moderated by Daniel Kunitz, Editor of Modern Painters. 2011 Closet Drama, Location One New York. Nueva York, Estados Unidos. The Redacted Manuscript at Museo Tamayo, Ciudad de México, México. The Redacted Manuscript at The New Museum New York, Nueva York, Estados Unidos. 2010 The Redacted Manuscript at Modern Mondays, Museum of Modern Art New York, Nueva York, Estados Unidos. 2009 Undergrounds, performed at Tracey Williams Gallery New York, Nueva York, Estados Unidos. 2007 The FM Ferry Experiment Staten Island Ferry, Nueva York, Estados 2006 2003 2002 2001 1999 Unidos. Jill Magid at The Bowery Poetry Club with Ed Vas, Nueva York, Estados Unidos. Lincoln Ocean Victor Eddy with Ed Vas. Orchard, Nueva York, Estados Unidos. Lincoln Ocean Victor Eddy with Ed Vas. Eyebeam New York, Nueva York, Estados Unidos. Performance A-Z Storefront for Art and Architecture New York, Nueva York, Estados Unidos. Intimate Relations... The Poetry Project at St. Mark’s Church, curated by Corrine Fitzpatrick, Nueva York, Estados Unidos. Composite Alona Kagan Gallery, with Bradley Pitts, Nueva York, Estados Unidos. Kafkahouse Manifestacao International de Performance, Belo Horizonte, Brasil. Rhinestoning Headquarters Security Ornamentation Installation, Police Headquarters, Ámsterdam, Países Bajos. Unmade Facades, Museum Van Loon. Ámsterdam, Países Bajos. Intimacy Collaboration with Pure Luck Dance Group. De Parel Gallery. Ámsterdam, Países Bajos. Intimates Unfolding Xth Ave. Lounge. Nueva York, Estados Unidos. Intimacy Collaboration with Pure Luck Dance Group. De Parel Gallery. Ámsterdam, Países Bajos. The Lap Cushion. Public performance. Boston, Massachusetts, Estados Unidos. Monitoring Desire. Harvard Science Center. MIT Thesis Performance. Massachusetts, Estados Unidos. Lobby 7 MIT main lobby. Cambridge, Massachusetts, Estados Unidos. KissMask Public performance. Cambridge, Massachusetts, Estados Unidos. Urban Attire Public performances. Cambridge, Massachusetts, Estados Unidos. Pláticas / Conferencias: 2011 Conferencia, Harvard, Graduate School of Design Cambridge, Massachsetts, Estados Unidos. Conferencia, Berkeley Art Museum California, Berkley, California, Estados Unidos. New Media Lecture Series Neuberger Museum New York, Nueva York, Estados Unidos. 2009 “Permission as Material” The New Museum New York, Nueva York, Estados Unidos. 2008 Art On Paper Magazine Talks at the Editions/Artists’ Books Fair Cornell University Fall Lecture Series, Ithaca, Nueva York, Estados Unidos. Corcoran College of Art and Design Lecture Series, Washington, DC, Estados Unidos. 2008 Creativity Now conference for Tokion Magazine Connected Consciousness: Art, Media and the Internet Mediated by Lauren 2007 2006 2005 2004 Cornell, Nueva York, Estados Unidos. Parsons Fall Lecture Series, Nueva York, Estados Unidos. San Francisco Art Institute, San Francisco, California, Estados Unidos. Blogspot Southern Methodist University, Dallas, TX. Visiting Artist Lecture Series. School of Visual Arts, serie de aristas invitados, Nueva York, Estados Unidos. Columbia University/ Barnard, serie de aristas invitados, Nueva York, Estados Unidos. SUNY New Paltz, serie de aristas invitados, Nueva York, Estados Unidos, 13 de febrero. Pratt Institute 2007-8, serie de aristas invitados, Nueva York, Estados Unidos. Shifting Ground: Art, Technology, and the Activist. Bidoun’s Art and Politics Series with Jill Magid, The Yes Men, (Shuddha Sengupta) RAQS Media Collective, Tom Keenan. Nueva York, Estados Unidos. Sousveillance Culture Rhizome at the Conflux Festival, led by Marisa Olson, Curator and Editor of Rhizome, with Amy Alexander, Jill Magid and Hasan Elahi Summary, Pratt Institute. Visual Arts Department. Brooklyn, Nueva York, Estados Unidos. Rijksakademie Van Beeldende Kunsten. Ámsterdam, Países Bajos. NYCAMS. Nueva York, Estados Unidos. New York Studio Program, Nueva York, Estados Unidos. Parsons, Design and Communications Department, Nueva York, Estados Unidos. Inviting Horror. V2 Rotterdam Netherlands @ Eyebeam, Nueva York, Estados Unidos. Personal Relations with Impersonal Structures. The Poetry Project at St. Mark’s Church, Nueva York, Estados Unidos. Surveillance Seminar, Parsons The New School, with Margot Bouwman, Nueva York, Estados Unidos. The New Surveillance Conference, Technical University Berlin, Berlín, Alemania. Leipzig Theatre Festival, Leipzig, Alemania. Very Real Time. Organized by Gregg Smith, Invitational Conference from Johannesburg, Johannesburgo. Performance and Surveillance, Leipzig Theatre Festival, Alemania. Something of the Night, Leeds City Art Gallery, Leeds, Reino Unido. De Appel Lecture Series: Jill Magid and Julia Scher, De Appel, Ámsterdam, Países Bajos. Rechstaag Conference: Surveillance and Terrorism for Dutch Law, University of Ámsterdam, Países Bajos. Jill Magid in Conversation with Geert Lovink, FACT. Liverpool, Reino Unido. Terror-D’ecor;cor: Panel Discussion with Ziga Kariz, Tim Druckery. Max Protetch Gallery, Nueva York, Estados Unidos. JILL MAGID Born in 1973 Lives and works in Brooklyn, New York. Education: 1998-2000 Massachusetts Institute of Technology, Masters of Science in Visual Studies, Cambridge, Massachusetts, United States. 1991-1995 Cornell University, Bachelor of Fine Arts, Ithaca, New York, United States. Residencies: 2006-2007 Eyebeam, Artist in Residence, New York, United States. 2001-2002 Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands. 1994 Lorenzo de Medici, Florence, Italiy. Awards: 2006 2001-2 1998 Basis Stipendium, Fonds Voor Beeldende Kunsten, The Netherlands. The Netherland-America Foundation Fellowship, Fulbright Grant Jacob K. Javits Fellowship, American Federal Government Fellowship Solo exhibitions: 2014 Woman With Sombrero. Yvon Lambert. Paris, France. 2013 Woman With Sombrero. New Commissions, Art in General. New York, United States. Jill Magid as part of Art Basel Parcours. June Jill Magid at Raeber von Stenglin, Independent 2013, New York, Unites States. 2012 Faust 24 Labor, Mexico City, Mexico. Failed States Honor Fraser Gallery, Los Angeles, United States. The Status of the Shooter Yvon Lambert, Paris, France. Failed States AMOA-Arthouse, Austin, Texas, United States. 2011 Closet Drama, Berkeley Museum of Art, California, United States. 2010 A Reasonable Man In A Box, Whitney Museum of American Art, New York, United States. 2009 Objects To Be Handed Over or Destroyed, Yvon Lambert, New York, United States. The Thicker the Glass, Yvon Lambert, Paris, France. Authority to Remove, Tate Modern, London, England. Article 12, Stroom and The AIVD (The Secret Service of the Netherlands), The Hague, The Netherlands. 2008 Thin Blue Lines, Centre D’Arte Santa Monica, Barcelona, Spain. Evidence Locker, Sparwasser, Berlin, Germany. 2007 With Full Consent, Gagosian Gallery, New York, United States. 2005 Libration Point, Stedelijk Museum Bureau Amsterdam, Amsterdam, The Netherlands. Evidence Locker, Technical University Eindhoven, The Netherlands. Gambier Night, Public projection, Tschumi Pavilion Groningen, The Netherlands. Thomas Makes a Wish, Galerie LÅLObservatoire, Brussels, Belgium. Tall Tale Small Scale, Galerie van Gelder, Amsterdam, The Netherlands. Facades, Museum Van Loon, Amsterdam, The Netherlands. Rhinestoning Headquarters (by System Azure), permanent installation, Amsterdam Police Headquarters, Amsterdam, The Netherlands. Facades, Museum Van Loon, Amsterdan, The Netherlands. Intimates Unfolding, Xth Avenue Lounge, New York, United States. Monitoring Desire Harvard Science Center, MIT Thesis Performance, Cambridge, Massachusetts Lobby 7 MIT main lobby, Cambridge, Massachusetts, United States. 2004 2003 2002 2001 Group Exhibitions: 2014 The Crime Was Almost Perfect. Witte de With Center for Contemporary Art. The Netherlands. 2013 Random House. Arcadia Miss. London, United Kingdom. Gotenburg Biennial. Curada por Joanna Waraza, Sueden. Monkey Business: The Paradox of Value. Curated by Gregory Lang and Sphie Scheidecker. Gallery Sophie Scheidecker. Paris, France. Seven On Seven. Jill Magid with Dennis Crowley Rhizome. Auditorium Tishman in the New York School. New York, United States. The Book Lovers Elizabeth Foundaton of the Arts (EFA). New York, United States. No One Lives Here. Royal College of Art. London, United Kingdom. 2012 Now Here is Also Nowhere. Part 1 Group exhibition. Henry Art Gallery, Seattle, New York, United States. “Four Nights, Four Decades” Video Series Screening. The Power Station, Dallas, Texas, United States. Sculpted Matter Group exhibition. Paul Kasmin Gallery, Nuew York, United States. Mind the System, Find the Gap Z33, Belgium. Bucharest Biennial 5 Romania. Curated by Anne Barlow, Romania. Cancelled The Center for Book Arts, New York, United States. Campaign C24 Gallery, Curatred by Amy Smith-Stewart. New York, United States. Who’s Afraid of Red, Yellow, and Blue? La Maison Rouge, Curatred by David Rosenberg. Paris, France. 2011 Museum of Display, EXTRA CITY, Antwerp, Singapore Biennial, Singapore. Sorting Daemons: Art, Surveillance Regimes and Social Control, Gallery of Mississauga, Ontario, Canada. Secret Societies, Schirn Kunsthalle, Frankfurt, Germany. 2010 FREE, New Museum, New York, United States. A Place out of History, Museo Tamayo, Mexico City, Mexico. A Theory of Vision: A Review, Centrum Sztuki Wspotczesnej Zamek Ujazdowski, Poland. History of Art, The David Robert Art Foundation, London, England. S.M.A.K Going GAGA, Museum S.M.A.K presents GAGARIN The Artists in their Own Words, Ghent, Belgium. Assume the Position, Townhouse Gallery, Cairo, Egypt. 2009 2008 2006 2005 2004 2003 2002 PLOT, Creative Time, GovernorÅLs Island, New York, United States. Image Search, P.P.O.W., New York, United States. Espàces dʼespaces, Yvon Lambert, New York, United States. Closer, Beirut Art Center, Lebanon, Beirut. Capital Jewelers, Dust Gallery, Las Vegas, United States. Naked Life, Museum of Contemporary Arts Taipei, Taipei, Taiwan. Lost and Found Video Screening, Art in General, New York, United States. Balance and Power: Performance and Surveillance in Video Art, Rose Art Museum, Waltham,Massachusetts, United States. The 7th Side of the Die, Alona Kagan Gallery, New York, United States. Intimate Relations…The Poetry Project, St. Mark’s Church, New York, United States. Composite, Alona Kagan Gallery,New York, United States. Supervision: Jill Magid and Nicoline van Harskamp, UCR Museum of Photography, Riverside, California, United States. And the Story Begins, Galerie van Gelder, Amsterdam, The Netherlands. Berlin Art Fair, Galerie van Gelder, Berlin, Germany. Balance and Power, Krannert Art Museum, Champaign, Illinois, United States. Positioning statement, Image Cairo 3, Townhouse Gallery, Cairo, Egypt. DMZ 2005_Korea, A project between North and South Korea, Heyri Art Village, Paju, South Korea. HTMiles, International Biennial of Cyberart, Montreal, Canada. ADAM, Smart Project Space, Amsterdam, The Netherlands. On Patrol, De Appel, Amsterdam, The Netherlands. Evidence Locker, Tate Museum Liverpool and FACT, Liverpool Biennial, Liverpool, United Kingdom. Retrieval Room, FACT, Liverpool Biennial, Liverpool, United Kingdom. Video Program, De Balie, Fa.ade Screen, Amsterdam, The Netherlands. Kunstrai, Galerie van Gelder, Amsterdam, The Netherlands. FILM@33, TURF, Brooklyn, New York, United States. Yellow Pages, Turm Gallery, Germany. Surveillance and Control, World-Information Exhibition, Amsterdam, Netherlands. Museum Night: Home Movies, Museum Van Loon, Amsterdam, Netherlands. Married by Powers with Paulina Olowska, TENT, Rotterdam, Netherlands. Bibliography: 2010 Straus, Michael. “JILL MAGID A Reasonable Man in a Box”, Brooklyn Rail, September. Hayward, Camille, “A Reasonable Man in a Box”, Whitewall, July, 2010 “Dutch Secret Service Take Custody of Jill Magidʼs Art”, Artdaily.org, October. Crow, Kelly, “Jill Magid Manuscript Confiscated Following Tate Modern Exhibit”, Wall Street Journal, January. Ashton, Sean, “From Physical Object to Literary Text,” MAP magazine, Issue 21, Spring, pg. 60-65 2009 Bigalke, Nina and Kisch, Sean, “Licensed to thrill: Artist Jill Magid at Tate Modern,” The Guardian, video, December. Crow, Kelly. “An Artist Delves Into the Lives of Spies,” Wall Street Journal, September 19. Gerrity, Jeanne. “Secret Agency: Jill Magid at Yvon Lambert,” Rhizome.org. October 15. Oddy, Jason, “An outsiders guide to getting inside places only insiders normally get to go,” Art on Paper,Vol.13, No.5, May/June, pg. 58-71 Smallenburg, Sandra. “AIVD liet kunstwerk maken, maar kreeg koudwatervrees”, NRC Handesblad,September 23 Stroobants, Jean-Pierre. “Petits couacs entre une artiste am.ricaine et des agents secrets n.erlandais ”,Le Monde, October 16. Wiseman, Eva. “Is it Art? Search Me… Why Jill Magid Loves an Authority Figure.” The Observer. September 27. 2008 Tate Modern Unveils its Latest Level 2 Exhibition: Authority to Remove by Jill Magid, Artdaily.org, September 12. Hartjes, Nathalie, “Kunst voor de veilgheidsdienst,” Den Haag Centraal, April 25, Jill Magid interviews Sophie Calle, Tokion, Fall 2008, pg.46-53 Mebius, Bert, “Het gezicht van de AIVD,” Groene Amsterdammer, May 16. Rosenberg, Karen, “The New Normal,” The New York Times, June 13, 2008, p. E26 Smallenburg, Sandra, “Best of 2008,” NRC Handlesbad, The Netherlands. Smallenburg, Sandra, “Het menselijk gezicht van de veiligheidsdienst,” nrc.next, May 8. Smallenburg, Sandra, “Hoe spionnen ogen,” NRC Handelsblad, May 2. Staffhorst, Maaike, “AIVD doorgelicht door kunstenaar,” De Telegraaf, April 25. Stoffelen, Anneke, “Uren praten met Miranda I, II of III,” de Volkskrant, April 23. Pi.t, Hans, “Geheime Dienst toonst menselijke trekjes,” De Kleine Posthoorn, April 18. Van den Dikkenberg, Rutger, “Anonieme AIVDÅLers aan het word,” PM, het magazine voor de overheid, May. Van der Goes, Bernadette, “Article 12,” BinnensteBuiten, blad Ministerie van Binnenlandse Zaken en Koninkrijksrelaties, May 14. 2007 Boucher, Brian, “Jill Magid at Gagosian Gallery,” Art in America, December. Bentley, Kyle, “Jill Magid at Gagosian Gallery,” Artforum, October 2007, p. 371. Chamberlain, Colby, “Jill Magid at Gagosian Gallery,” Artforum.com, July 13. Eleey, Peter, “Famous in 2112?,” ArtNews, November. Kilston, Lyra Liberty, “Jill Magid at Gagosian Gallery,” Modern Painter, October. Rubin, Elizabeth, “Permission is a Material and Changes the WorksÅL Consistency,” Bidoun, Issue #10 Smith, Roberta, “Jill Magid at Gagosian Gallery,” The New York Times, July 27, 2007, p. E32. “Jill Magid,” New York Magazine, July 16. 2005 Farver, Jane, “Jill Magid-Libration Point,” Stedelijk Museum Bureau, Amsterdam, No.89, Nov. Reinders, Arjan, “Recontructie Van,” Kunstbeeld, November 2005, p. 12-15 de Ruiter, Marinus, “Watching the Detectives Watching,” Amsterdam Weekly, Nov 10-16, 2005, p. 11 “On Patrol,” De Appel Reader, No.3. 2004 Doherty, Claire, “Location Location,” Art Monthly, November, p. 7-10. 2003 Zacks, Stephen, “The Glam Cam,” Metropolis, October, p.28. Performances/ Readings: 2012 Failed States, A Reading at Download Press Release Art in General, New York, United States. Moderated by Daniel Kunitz, Editor of Modern Painters. 2011 Closet Drama at Location One New York, United States. The Redacted Manuscript at Museo Tamayo, Mexico City, Mexico. The Redacted Manuscript at The New Museum New York, New York, United States. 2010 The Redacted Manuscript at Modern Mondays at Museum of Modern Art New York, New York, United States. 2009 Undergrounds, performed at Tracey Williams Gallery New York, New York, United States. 2007 The FM Ferry Experiment Staten Island Ferry, New York, United States. Jill Magid at The Bowery Poetry Club with Ed Vas, New York, United States. Lincoln Ocean Victor Eddy with Ed Vas. Orchard, New York, United 2006 2003 2002 2001 1999 States. Lincoln Ocean Victor Eddy with Ed Vas. Eyebeam New York, New York, United States. Performance A-Z Storefront for Art and Ar chitecture New York, New York, United States. Intimate Relations... The Poetry Project at St. Mark’s Church, curated by Corrine Fitzpatrick, New York, United States. Composite Alona Kagan Gallery, with Bradley Pitts, New York, United States. Kafkahouse Manifestacao International de Performance, Belo Horizonte, Brazil. Rhinestoning Headquarters Security Ornamentation Installation, Police Headquarters, Amsterdam, The Netherlands. Unmade Facades, Museum Van Loon. Amsterdam, The Netherlands. Intimacy Collaboration with Pure Luck Dance Group. De Parel Gallery. Amsterdam, The Netherlands. Intimates Unfolding Xth Ave. Lounge. New York, New York, The Netherlands. Intimacy Collaboration with Pure Luck Dance Group. De Parel Gallery. Amsterdam, The Netherlands. The Lap Cushion. Public performance. Boston, Massachusetts, United States. Monitoring Desire. Harvard Science Center. MIT Thesis Performance. Cambridge, Massachusetts, United States. Lobby 7 MIT main lobby. Cambridge, Massachusetts, United States. KissMask Public performance. Cambridge, Massachusetts, United States. Urban Attire Public performances. Cambridge, Massachusetts, United States. Talks / Lectures: 2011 Artist’s Talk Harvard, Graduate School of Design Cambridge, Massachussets, United States. “Disclosing the Invisible” The Stedelijk Museum and SKOR Amsterdam, Amsterdam, The Netherlands. Artist’s Talk. Berkeley Art Museum California, California, United States. New Media Lecture Series Neuberger Museum New York, New York, United States. 2009 “Permission as Material” The New Museum New York, New York, United States. 2008 Art On Paper Magazine Talks at the Editions/Artists’ Books Fair Cornell University Fall Lecture Series, Ithaca New York, New York, United States. Corcoran College of Art and Design Lecture Series, Washington, United States. 2008 Creativity Now conference for Tokion Magazine Connected Consciousness: Art, Media and the Internet Mediated by Lauren Cornell, New York, United States. Parsons Fall Lecture Series, New York, United States. San Francisco Art Institute, CA. Visiting Artist Lecture Series. Blogspot, Southern Methodist University, Dallas, Texas, United 2007 2006 2005 2004 States. Visiting Artist Lecture Series. School of Visual Arts,New York, United States, Visiting Artist Lecture Series. Columbia University/ Barnard, New York, United States. Visiting Artist Lecture. SUNY New Paltz, Artist Lecture Series. Feb 13th Pratt Institute 2007-8 Visiting Artist Lecture Series, New York, United States. Shifting Ground: Art, Technology, and the Activist. Bidoun’s Art and Politics Series with Jill Magid, The Yes Men, (Shuddha Sengupta) RAQS Media Collective, Tom Keenan. New York, United States. Sousveillance Culture Rhizome at the Conflux Festival, led by Marisa Olson, Curator and Editor of Rhizome, with Amy Alexander, Jill Magid and Hasan Elahi Summary Pratt Institute. Visual Arts Department. Brooklyn, New York, United States. Rijksakademie Van Beeldende Kunsten. Amsterdam, The Netherlands. NYCAMS. New York, United States. New York Studio Program. New York, United States. Parsons, Design and Communications Department. New York, United States. Inviting Horror. V2 Rotterdam Netherlands @ Eyebeam, New York, United States. Personal Relations with Impersonal Structures. The Poetry Project at St. Mark’s Church,New York, United States. Surveillance Seminar, Parsons The New School, with Margot Bouwman, New York, United States. The New Surveillance Conference, Technical University Berlin, Germany. Leipzig Theatre Festival, Germany. Link to Contributers. Very Real Time. Organized by Gregg Smith, Invitational Conference from Johannesburg, Johannesburg. Performance and Surveillance, Leipzig Theatre Festival, Germany. Something of the Night, Leeds City Art Gallery, UK. De Appel Lecture Series: Jill Magid and Julia Scher, De Appel, Amsterdam, The Netherlands. Rechstaag Conference: Surveillance and Terrorism for Dutch Law, University of Amsterdam, The Netherlands. Jill Magid in Conversation with Geert Lovink, FACT. Liverpool, United Kingdom. Terror-D’ecor;cor: Panel Discussion with Ziga Kariz, Tim Druckery. Max Protetch Gallery, New York, United States. — As told to Zachary Cahil For the 2012 Bucharest Biennale, artist Jill Magid will exhibit her novella Failed States, which chronicles her experiences as she trained in 2010 to be an embedded journalist in Afghanistan as well being witness to a shooting at the Texas state capitol building that same year. An interdisciplinary artist who engages with institutional structures and notions of intimacy, attempting to materialize phenomena like secrets and risk, Magid’s work encompasses performance, prints, sculpture, video, and writing. The biennale is on view from May 25 to July 22, 2012. WHAT IS A WITNESS AND WHAT IS PARTICIPANT? This is a vital question that arises in Failed States, a project I began working on in Austin, Texas, which consists of multiple pieces, such as sculptural components, prints, video, and sound pieces. The project was inspired by a New York Times article that examined the connection between snipers and their targets. The writer of that piece curiously emphasized a kind of intimacy to describe their relationships. Soon after I began work in Austin, I witnessed a man named Fausto Cardenas shoot six bullets into sky in front of the Texas state capitol building. Immediately apprehended, he spent the next eighteen months incarcerated, charged with a terrorist threat against a government institution. During the time Fausto was in jail, I was training in Texas with a journalist—named “CT” in the novella—to embed with the military in Afghanistan, as part of the the scene and in the press as a witness, if only by coincidence, to Fausto’s act. Subsequently, I made the decision to remain his witness, flying out for every hearing, forging an intimate relationship with both the prosecutor and the defense attorney as a way of better trying to grasp Fausto’s act, for which he never gave reason. While I was training to be the kind of witness who goes to a war zone and writes about what transpires there, I was committing myself to be another kind of witness, one who follows a man and his painfully slow journey through the US court system long after the press (and public) have lost interest in him. The Bucharest Biennale is largely focused on the question of what makes up a public. Anne Barlow, the curator, is focusing on artists who use research as means to investigate certain unknowable facets of civic institutions as well as those who also infiltrate those systems by means of seduction. Generally, my practice is distinguished by multiple events: The first is performative, involving experience and research that deepens into a process that serves as source material for the objects and writing, while the second is contextual, how and in what forms the materials are manifested for the public. In regard to the latter, I decided to present Failed States the novella for the first time, but I was worried and curious about how Failed States, which is focused around such American themes as gun control, US foreign policy, and journalists embedding with the American military, would translate in the context of a biennial in Romania. Aiming to resist these issues, I decided to collaborate with three of the nation’s magazines: Vice, which has a Romanian arm; Taboo, which is a women’s fashion magazine; and Zeppelin, an architecture magazine. Each provided briefs on what they wanted for the context of their magazine and how it would relate to the novella. In a way these magazines act as three extended venues of the Bucharest Biennale. The book and magazines will be installed as a reading area within this amazing old and decayed building called the House of Free Press, which was originally built as the media center of Bucharest and later became the voice of the Communist Party. For me, writing is a form of drawing; like sketching, it comes immediately after the experience and the observed situation, allowing me to capture detail when it is fresh. Someone told me this is a romantic way of writing. This is my process and it is the reason why I am so emphatic that my work is not fiction. Some people may assume that what I write is fiction, but for me, obviously a relationship or a sensation of a relationship can’t be fact-checked but all of the historical or social-political markers that I am discussing can be. It is important to me that what I write is true. artforum “The Book Lovers” EFA PROJECT SPACE 323 West 39th Street, 2nd Floor January 25–March 9 By Colby Chamberlain View of “The Book Lovers.” From left: Julia Weist, Discarded Library Books I Collected, 2006; Library books I wrote, 2011; Library books I discarded, 2011; Discarded library books I wrote, 2011; Discarded library books I collected, 2011; plus diplomas, 2006–13. In her essay “Two Paths for the Novel,” the author Zadie Smith argues that, despite some dalliances, the novel has remained faithful to the conventions of nineteenth-century realism. “The received wisdom of literary history,” writes Smith, “is that Finnegans Wake did not fundamentally disturb realism’s course as Duchamp’s urinal disturbed realism in the visual arts.” For artists, the readymade cast doubt on all the old assumptions—the authenticity of the individual, the fixity of meaning, humanism’s whole song-and-dance—yet somehow the authors of novels have carried on unperturbed. But what if Duchamp had written a novel? Or what about his quickest study? A tape recording of Factory chatter badly transcribed by teenage typists, Andy Warhol’s A: a novel, 1968, is the urinal-talisman for this engrossing exhibition of what curators David Maroto and Joanna Zielinska call “artist novels.” The coinage’s simplicity belies the difficulty of combining two disciplines with divergent conceptions of authorship. The curators have assembled a library-like survey of examples, such as Richard Prince’s Why I go to the movies alone, 1983, and Sophie Calle’s Double Game, 2007, but the exhibition’s main draw are featured artists who treat their novels as linchpins for multiple-component projects—instances where the novel, once written, functions as a readymade. Is a readymade novel meant to be read? Julia Weist, who holds degrees in both art and library science, wrote her romance novel, Sexy Librarian, 2008, in order to document the book’s circulation. For her, books are sculptural material, a point she makes explicit with a piece that presents a hundred volumes ground into dust. By contrast, Jill Magid wants her artwork and nonfiction novels to receive equal recognition. Ironically, her recent Becoming Tarden, 2009, can’t ever be read in full, since it’s partially censored by the Dutch Secret Service. The agency had signed off on Magid’s interviewing several of its secret agents for an artwork, but balked when it discovered she was also writing a book. The moral of the story may be that eliding the roles of artist and author remains a provocation. On view at the Independent Art Fair over the weekend was the above work by artist Jill Magid, titled Auto Portrait Pending. According to the artist’s statement; Jill Magid signs a contract with a company to become a diamond when she dies. The contract specifies the agreement for her transformation and the details of her eventual diamond. Upon her death, the diamond will be created from the carbon of her cremated remains. It will have a round cut, weigh one carat, and be set in a gold ring setting. Until the diamond′s creation, the empty ring setting, the corporate contract, the artist’s preamble, and the Beneficiary Contract constitute the artwork. Auto Portrait Pending awaits a Beneficiary. This work challenges the traditional notion that artworks exist as a finished product, since it exists in the form of an idea and a set of placeholders until the “eventual diamond” is created. In this way, the work speaks to many of the themes that our current series, “Art in the Long View at Lunchtime” explores. For example, at yesterday’s talk, “Temporality: Lived, Constructed, and Imagined,” we discussed Alighiero Boetti’s piece 11 Luglio 2023 (1966-1975), a piece in which the artist commissions craftswomen to embroider the date he projects for his own death. This piece is also a placeholder in some ways; the recorded date is only a guess or a suggestion of potential significance, which stands in for a factual commemoration. In both cases, the artists focus on their own anticipated deaths as the source material for poetic investigations of the long-term significance and evolution of artworks. By working in this way, perhaps the artists offer not only a new way to consider artworks, but also even a new lens through which to view such a challenging topic as death. Join us for our “Art in the Long View at Lunchtime” programs on select Mondays and Thursday to think more about artworks and concepts such as these! Interview by Magnolia de la Garza Publishes in Mousse, December issue Jill Magid: Faust 24 LABOR You just opened a show at Labor in Mexico City. Yes, it’s called Faust 24 and mainly consists of a piece called Tooley, A Tragedy, a five-channel video and sound installation and two books. The story of the piece began in 2010 with a suicide at the University of Austin, Texas, where I was researching at the time. A student put on a ski mask and took an AK-47 and went through campus shooting up into the air and into the ground, basically performing the role of the “school shooter” as we have come to know “him”. But avoiding shooting at anyone. He then went to the top floor of the library, to the section for comparative literature and poetry, and killed himself. I had been working a different body of work about another very public shooting in Austin at the state capitol, in which I compared the shooter, whose name happened to be Fausto, to Goethe ’s Faust. Then I heard about this other shooting. So I made an open-records request to the Austin police department, and they sent me five DVDs of video evidence, and from that material I built the piece Tooley, A Tragedy. The idea of absence comes up repeatedly in your work. Either I’m aware of an absence, or it’s some kind of pregnant void that I’m drawn to. With Tooley, A Tragedy for instance, the five DVDs contained dashcam footage from the five police cars that rushed to the library. The video shows the view through their windscreens, and there are multiple layers of audio: the cops’ voices, the police radios, the carstereos. They converge on the scene, and then the cops run inside the library. The video stays put because it’s a dash-cam, but the audio travels inside. So you never see the shooter, the suicide, or the body. You never see the police find him. You just hear all of the activity surrounding what you don’t see. In working through this footage, I kept feeling like I was somehow looking for the body, in a metaphorical way. That is when turning to Goethe again seemed appropriate to me. I looked back into Faust, and there ’s this part at the beginning when Faust is frustrated that he ’s never going to understand nature and the universe the way God does, so he decides to commit suicide by drinking a vial of poison. I started relating this library scene from Faust to the scene in the university library. The booklet that I wrote for the piece Tooley, A Tragedy is a transcription of the police tapes, reformatted as an epic drama in the style of Faust, with characters, staging and dialogue. The moment that Faust decides to raise the liquid to his lips coincides in the booklet Tooley, A Tragedy with the moment the police yell, “Contact!” because they have seen the body. July 27, 2007 By Roberta Smith JILL MAGID ‘With Full Consent’ Gagosian Gallery 980 Madison Avenue, at 76th Street Through Aug. 3 At 34, Jill Magid is teaching the old dog of Conceptual Art some new tricks. Ms. Magid, who lives and works in Brooklyn and Amsterdam, seems motivated by an urge to infiltrate and personalize, if not sexualize, the anonymous social and technological systems that surround us. She pursues an idiosyncratic kind of body art descended from artists like Vito Acconci, Adrian Piper and Sophie Calle. Ms. Magid’s impressive New York debut includes “Lincoln Ocean Victor Eddy,” a video and series of photographs accompanied by a haunting novella. All record her five-month friendship with a New York City police officer. She initiated it by asking him to search her (he didn’t) and then shadowing him during his night shift, usually on subway platforms in Manhattan and Brooklyn. The best part of the work is the quietly heart-rending novella, a kind of tunnel vision of two people moving along parallel tracks while the city hums around them. The relationship is never consummated, but “Lincoln Ocean Victor Eddy” spells love. The video “Trust,” part of a larger work called “Evidence Locker,” provides a sense of the closed-circuit action implied in “Lincoln Ocean Victory Eddy.” It involved Ms. Magid’s befriending some of the men running the citywide surveillance system in Liverpool, England. She persuaded them to guide her (using an ear bud) as she walked along the streets with her eyes closed, while videotaping her movements. As you watch a figure in a red coat (the artist) and listen to a man’s voice quietly dictating her every move, it doesn’t take long to understand what is going on or to feel like an intruder into a briefly intimate, protective form of surveillance. In “Auto Portrait Pending,” Ms. Magid contracts to have her cremated body turned into a diamond and mounted on a gold ring after she dies. (The display includes the ring, its box and the contract.) And in “The Salem Diamonds,” she proposes making a memorial the same way, using the unclaimed ashes of inmates at an Oregon mental institution. These works also personalize a system — the making of artificial diamonds from cremated remains — while inventing a highly portable form of burial and remembrance. But they don’t reverberate with the richness that Ms. Magid conjures up in the here and now.