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.