Jill Magid Failed States, Mercedes Benz 300TE station wagon armored to B4 level 149,8 x 464,8 x 195, 5 cm

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2 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.

3 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.

4 Failed States, 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.

5 The Capitol Shooter: Breaking News, 2011 Archived news footage TRT 9.15 min (Pág anterior) Estados Fallidos, 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.

6 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

7 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

8 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

9 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

10 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

11 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, facsímil de letra con traducción al español. Libro marcado: 20,3 x 10,1 cm Carta: 20,3 x 28 cm

12 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.

13 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.

14 Tooley, A Tragedy, 2012 (still) 5 channel video installation Tooley, Una tragedia, Instalación de video de 5 canales 13:47min

15 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, Espejo, ganchos, dimmer, electricidad. 183 x 46 cm

16 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, Espejo, ganchos, dimmer, electricidad. 183 x 46 cm

17 Faust, A Tragedy Abridged, Faust, A tragedy Abridged (torn hardcover book); Cooley A Tragedy (signature) and vitrine Fausto, Una tragedia abreviada, Fausto, una tragedia abreviada (portada de libro rota); Cooley Una tragedia (firma) y vitrina. 99 x 36,5 x 109,5 cm

18 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 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.

19 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 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.

20 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.

21 The Deed, 2011 Silkscreen on paper La Tarea, Serigrafía en papel. 110,5 x 76,2 cm

22 Installation View: Closet Drama, Berkeley Art Museum, Berkeley CA, USA, Vista de instalación: Drama de clóset 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

23 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 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.

24 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.

25 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

26 The Shepherds, Bronze 22,9 x 30,5 x 25,4 cm Los pastores, Bronce 22,9 x 30,5 x 25,4 cm

27 My Sensitivity, 2007 Four color silkscreen on Reeves BKF paper Mi sensibilidad, 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.

28 I Can Burn Your Face, mm neon, transformers and wires Dimension variable Puedo quemar tu rostro, 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.

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31 Becoming Tarden, 2009 C-Print 29,8 x 44,5 cm

32 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

33 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.

34 Love, 2007 Amor C-Print 56,7 x 111,8 cm

35 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

36 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.

37 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).

38 Incident_Retreived, 2004 DVD, Edited CCTV, 7 min Incidente grabado

39 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.

40 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.

41 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

42 Auto Portrait Pending, 2005 Gold ring with empty setting, ring box, corporate and private contracts Dimension variable

43 Auto Portrait Pending, 2005 Gold ring with empty setting, ring box, corporate and private contracts Dimension variable

44 The Salem Diamonds, 2006 Memorial Proposal presented to the Memorial Committee at the Oregon State Senate in Salem, Oregon. May 8, ,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.

45 JILL MAGID Bridgeport, Connecticut, 1973 Vive y trabaja en Brooklyn, Nueva York, Estados Unidos. Educación: Massachusetts Institute of Technology, Masters of Science in Visual Studies, Cambridge, Massachusetts, Estados Unidos Cornell University, Bachelor of Fine Arts, Ithaca, Nueva York, Estados Unidos. Residencias: Eyebeam, Artist in Residence, Nueva York, Estados Unidos Rijksakademie van Beeldende Kunsten, Ámsterdam, Países Bajos Lorenzo de Medici, Florencia, Italia. Reconocimientos y becas: 2006 Basis Stipendium, Fonds Voor Beeldende Kunsten, Pa.ses Bajos 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 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 Closet Drama, Berkeley Museum of Art, California, Estados Unidos A Reasonable Man In A Box, Whitney Museum of American Art, Nueva York, Estados Unidos 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 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 Libration Point, Stedelijk Museum Bureau Amsterdam, Pa.ses Bajos.

46 Evidence Locker, Technical University Eindhoven, Países Bajos. Gambier Night, Public projection, Tschumi Pavilion Groningen, Países Bajos 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 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

47 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 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. 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.

48 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, 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 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 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 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 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.

49 Van der Goes, Bernadette, Article 12, BinnensteBuiten, blad Ministerie van Binnenlandse Zaken en Koninkrijksrelaties, mayo Boucher, Brian, Jill Magid at Gagosian Gallery, Art in America, diciembre. Bentley, Kyle, Jill Magid at Gagosian Gallery, Artforum, octubre 2007, p 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 Farver, Jane, Jill Magid-Libration Point, Stedelijk Museum Bureau, Ámsterdam, Países Bajos, No.89, noviembre. Reinders, Arjan, Recontructie Van, Kunstbeeld, noviembre 2005, p de Ruiter, Marinus, Watching the Detectives Watching, Amsterdam Weekly, noviembre 10-16, 2005, p. 11 On Patrol, De Appel Reader, No Doherty, Claire, Location Location, Art Monthly, noviembre, p 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 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 The Redacted Manuscript at Modern Mondays, Museum of Modern Art New York, Nueva York, Estados Unidos Undergrounds, performed at Tracey Williams Gallery New York, Nueva York, Estados Unidos The FM Ferry Experiment Staten Island Ferry, Nueva York, Estados

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