393:. While BarragĂĄn's personal archive and the vast majority of his architecture are located in Mexico, his professional archive is owned by the Swiss corporation Vitra, under the auspices of the not-for-profit Barragan Foundation. The foundation firmly controls the rights to BarragĂĄn's name and work, and has kept the archive closed to the public. Magidâs project asks âwhat can happen to an artistâs legacy when a corporation owns and controls the rights to his work.â Through a series of objects, installations, performances, and a feature film, it explores the "intersection of the psychological with the judicial, national identity and repatriation, international property rights and copyright law, authorship and ownership."
378:(in symbolic terms) until her death, after which her ashes will be transformed into a jewel to be put in the ring on permanent display." At the beginning of the beneficiary contract it is stated that the funeral and artwork are to be completely separate. The beneficiary who is unknown at this time must be a collector or institution with a substantial collection where the piece will remain in permanent display. In her own words, "The beneficiary is usually the loved one. The husbands gets the wife, the wife the husband, etcetera. I specify the beneficiary as a collector."
354:. Acting "as eyewitness and dramaturge," Magid linked themes of tragedy and futility between Fausto and his nominal relative, even bringing texts of Faust's monologues into the gallery space as implicit stand-ins for the shooter's silence. Goethe's epic was originally written as a "closet drama," "a play to be read rather than performed". In Magid's hands, the gallery transformed into a "stage to be read," with language, sculpture, video and image creating an intertextual weave between stories and events, individuals and publics, actions and aftermaths.
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situation centered around the idea of love; love of an artist, a human and marital love. She sets out to create an engagement ring from a small portion of BarragĂĄn's ashes and brings the ring to a meeting she arranges with Ms. Zanco, in exchange for the archive's return to Mexico she will give her the engagement ring. Magid proposes a portion of the man, for the archive. At the time of the film Zanco has not accepted her proposal, but Magid's offer still stands. The film premiered at the 2018
493:(2010) is a non-fiction novel that emerged from Magid's interviews with eighteen agents of the Dutch secret service (AIVD). Following Magid's submission of a draft, in 2008, the organization censored forty percent of the contents, from compromising information to the artist's personal descriptions and recollections. AIVD conceded to allow Magid to exhibit the uncensored report â only once â "âas a visual work of art.'" Following its secure display in 2009/10 at the
427:, receiving numerous awards. The film is distributed in the US and Canada by Oscilloscope Films, played in over thirty cities across the US after opening at New Yorkâs IFC Center and Los Angelesâ Laemmle Monica Film Center, and in museum contexts including the Tate Modern and the Centre Pompidou. It was a New York Times criticsâ pick, and was reviewed in The Washington Post, The Los Angeles Times, and the Boston Globe, among others.
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deeper into his relationships, connections and personal moments from his life. The film unpacks a narrative exploring "...forms of power, public access, and copyright that construct artistic legacy", as Magid explores the split of BarragĂĄn's archive - a personal verse a professional one- upon his death. The professional archive (along with the rights to the BarragĂĄn name) was purchased by Rolf
Fehlbaum, the chairman of
381:"Representation is exchanged for reality. It is a kind of Faustian pact (a recurring motif for the artist, in fact) with Magid bartering for eternal existence in the form of a carefully curated gemstone commodity, offering her own body as an artwork in the making, and in so doing tying herself in very strange relationship with an unknown Beneficiary: technically she becomes their property-to-be."
446:, her 2004 collaboration with Liverpool's City Watch. These forms ask for the time and nature of the incidents in question, which Magid supplied along with expressions of affection for their implicit recipients. In the artist's work, an intimacy can form between a pedestrian and her surveillants, and a bureaucratic document can testify to that relationship.
523:, shifting focus to "CT," a former embedded war correspondent who helps train Magid to embed in Afghanistan. The artist formerly played the role of incidental witness to Fausto's shooting, but in the book, actively seeks out training with a "personal desire to engage the war on terror and its media representation through becoming an eyewitness."
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footage by formally submitting thirty-one
Subject Access Request Forms, detailing the time and nature of the evidentiary incidents. Building upon her implicit intimacy with the CCTV observers, Magid filled out these legal documents as if writing letters to a lover. The collected letters form her 2004 book,
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On
January 21, 2010, a man attempted to enter the Texas State Capitol to speak with a Senator's aide. Immediately upon exiting the building, he fired six shots into the sky. Magid, coincidentally, was on a trip to research the history of snipers in Austin; her eyewitness account of the shooting aired
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Magid invited AIVD personnel to review the exhibition a day before the opening; the agents returned, during its run, to confiscate several works. A draft of Magid's report, in turn, was delivered to the artist with redactions of "any information that might compromise her sources' identities," as well
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of Field of Vision, who also served as executive producer. The film explores Magid's relationship to Luis BarragĂĄn, and builds on her work stemming from his archive. The narrative starts with her in her studio in New York and then moves to BarragĂĄn's home, recreating aspects of his life, and delving
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The project has been the subject of a number of exhibitions. These include âWomen with
Sombreroâ at Art In General, New York (2013) and Yvon Lambert, Paris (2014), âThe Proposalâ at Kunst Halle Sankt Gallen, Switzerland and the San Francisco Art Institute (both 2016), and âA Letter Always Arrives at
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The day of the shooting, Magid met with a reporter, "CT," who had previously embedded with the US military in Iraq and
Afghanistan. Over a series of meetings, the artist decided to train to embed with CT on his next trip to Afghanistan. CT informed her that they would navigate the country in a "hard
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The artist "protested against the censorship of her own memories," prompting AIVD to suggest that she "âpresent the manuscript as a visual work of art in a one-time-only exhibition, after which it would become the property of the Dutch government and not be published.'" Magid's 2009/10 exhibition at
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was a 2004 collaboration with
Liverpool's City Watch (Merseyside Police and Liverpool City Council) â then England's largest citywide video surveillance system. Wearing a red trench coat for thirty-one days, Magid periodically contacted on-duty police to train their public cameras on her. Sometimes,
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Magid has frequently worked by forming personal relationships with governmental systems of power, including police and intelligence agencies, questioning these structures of authority on a human level by embedding herself within them. Other projects intervene at contested sites of corporate control,
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is exhibited as an incomplete form of Magid's self-portrait. A contract containing three sections (a corporate contract, artist's preamble and a private beneficiary contract), a ring box and the unset gold ring make up its existing parts. The beneficiary contract allows for ownership of "the artist
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In 2005, Magid signed a contract with
Lifegem, a company that specializes in turning cremated bodies into diamonds. The artist specified that, upon her death, 8 ounces of carbon from her remains will be transformed into a one-carat, round-cut diamond estimated to cost about $ 20,000, to be set in a
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Magid's work "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,
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a Swiss furniture company, as an engagement present for his at the time fiancĂŠe
Federica Zanco "in lieu of a ring", as Magid repeats through the film. Since the purchase of the archive this portion has not been exhibited. Through the film, Magid examines the scenario, critically, and creates a
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City Watch stores CCTV footage for only thirty-one days "unless requested as evidence"; requested footage, in turn, is kept for seven years in a digital "Evidence Locker" on the organization's main computer. Despite her collaboration with the organization, Magid could only obtain access to her
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Magid spent the following three years meeting with eighteen willing employees in non-descript public places, from restaurants and bars to airport meeting points. AIVD restricted the artist from using recording equipment, so she collected her contacts' personal data in handwritten notes, which
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The motivations of the young shooter, Fausto
Cardenas, remain unknown. He was charged with perpetrating a terrorist threat to the government, but the trial date for his case was continuously delayed. Fausto accepted a plea bargain, in August 2011, "ultimately silencing himself."
77:(born 1973) is an American conceptual artist, writer, and filmmaker. Magidâs performance-based practice "interrogates structures of power on an intimate level, exploring the emotional, philosophical, and legal tensions that exist between institutions and individual agency.â
282:) to make a work for its new headquarters, as per the law's stipulation that "a portion of the budget for the new building be spent on an art commission." The organization solicited the artist to help improve its public persona by providing "âthe AIVD with a human face.'"
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its
Destination: The BarragĂĄn Archivesâ at Museo Universitario Arte ContemporĂĄneo, Mexico City (2017). The project was chronicled by Alice Gregory in a series of articles for the New Yorker in 2016 and 2017, and is the subject of Magidâs film,
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describes Magid's text as "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 âLincoln Ocean Victor Eddy' spells love."
293:, opened at "Stroom" Den Haag, The Netherlands in April 2008 â the same month AIVD took residence in its new headquarters. The show also marked the official end of the artist's commission. Named after the article that protects personal data,
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549:"Ms. Magid 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
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informed her later series of neons, sculptures and paper works. Magid also drafted a report of her meetings, amassing the details of individual contacts into a collective persona that she referred to as "The Organization."
203:, Amsterdam from 2000â2. She has received various awards, including the Calder Prize 2017, the Basis Stipendium from Fonds Voor Beeldende Kunsten in the Netherlands in 2006 and a Netherland-American Foundation Fellowship
454:(2007) emerged from a five-month period Magid spent shadowing a New York police officer during his nightly rounds through the city's subway system. The book forgoes the mediating structure of legal documents, as in
309:, marked the fulfillment of this request: the uncensored report sat securely behind glass. In its penultimate state, the project thus expressed "what it means to have a secret but not the autonomy to share it."
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contributes to contemporary debates around public surveillance by giving a nuanced, focused take on the "emotional and philosophical relationship between âprotective' institutions and individual identity."
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never entirely disclosed the identities of Magid's contacts, but nonetheless inverted "the surveillance duties of the agency" by publicly displaying materials associated with its employees.
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After filing the forms, Magid received over eleven hours of CCTV recordings, constituting her own personal evidence locker. The artist edited this footage into a number of videos, including
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car" â usually a Mercedes â armored to withstand gunfire while blending into traffic. Magid promptly decided to armor her 1993 Mercedes station wagon and, as part of her 2012 exhibition at
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is a memoir of our involvement. I had dreams of publishing it as my first novel. You are its only reader. Seize it. Strip it. Hold it in your building and seal it under glass. I comply.'"
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Magid responded strongly to "the symbolic gesture of six shots into the sky, the fateful setting, the silence that refuses to ground in political rhetoric or personal instability." For
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458:, by providing a diaristic account of Magid's feelings towards her companion â a shift to character-driven writing that continues in the artist's later books,
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This non-fiction novel marks a new stage in Magid's writing: unlike previous works, its contents never enter the gallery space. The topics of the
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262:(2004), a CCTV operator communicates with Magid via mobile phone, guiding the artist â eyes closed â through the city's public spaces.
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AIVD entered Tate Modern, in 2010, to permanently confiscate Magid's uncensored manuscript. A paperback of the redacted version,
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Kunst Halle Sankt Gallen, Switzerland. âJill Magid: The Proposalâ, 4 June 2016 â 21 August 2016. Retrieved February 20, 2020
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250:(2004), which comprises a series of time-lapse sequences of the artist motorcycling through the city at sunset, backed by
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440:(2004) comprises the thirty-one Subject Access Request Forms Magid filed to obtain access to CCTV footage from
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Magid is an Associate of the Art, Design and the Public Domain program at the Graduate School of Design at
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654:âA Letter Always Arrives At Its Destinationâ The BarragĂĄn Archives | April 27, 2017 â October 8, 2017.
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362:, Austin, parked the car in the spot where Fausto had parked on the day he fired his six shots.
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Lovink, Geert. "Surveillance, Performance, Self-Surveillance: Interview with Jill Magid."
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From 2013 through 2016, Magid explored the contested legacy of the late Mexican architect
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Magid's work has been the subject of solo exhibitions at numerous institutions, including
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Thomas, Elizabeth. "Jill Magid: Closet Drama." Berkeley Art Museum exhibition brochure.
1534:âReview: âThe Proposalâ Examines A Real Life Art World Provocation With Dramatic Flairâ
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138:
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with her husband Jonny Bauer and their two sons. She serves as an adjunct professor at
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1547:âMaking An Architectural Offer That Canât Be Refused â Or Can It? â In âThe Proposalââ
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1641:"Open Secret: Pamela M. Lee on the Work of Art Between Disclosure and Redaction,"
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748:âObjects to be Handed Over or Destroyed 27 | September 2009 â 24 October 2009.
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1510:, Criticâs Pick, The New York Times, May 23, 2019. Accessed January 8, 2020
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344:, the artist drew thematic and formal connections between Fausto's act and
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as "some of the artist's descriptions of her own thoughts and feelings."
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1508:ââThe Proposalâ Review: The Artist, the Architect and the Other Womanâ
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Cornell University College of Architecture, Art, and Planning alumni
735:âJill Magid: Libration Pointâ | 13 November 2005 â 30 December 2005.
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214:, and her project The BarragĂĄn Archives is the subject of the book
1223:"Review: Jill Magid's paean to the unspoken word at Honor Fraser"
999:
Coburn, Tyler (October 2007). "Review: Jill Magid at Gagosian".
696:
Jill Magid: The Proposal | 9 September 2016 â 10 December 2016.
1523:, The Washington Post, June 17, 2019. Accessed January 8, 2020
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In 2005, Magid was commissioned by the Dutch secret service (
1549:, The Boston Globe, June 26, 2019. Retrieved January 8, 2020
872:
Graduate School of Design, Master in Design Studies Homepage
630:"Authority to Remove | September 10, 2009 â January 3, 2010"
497:, the Dutch government assumed ownership of the manuscript.
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Kunitz, Daniel. "Texting: The Artist as Writer as Artist."
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1379:âWoman With Sombreroâ | 2 November 2013 â 21 December 2013.
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722:âAuthority to Removeâ | 10 September 2009 â 3 January 2010
709:âJill Magid: Closet Dramaâ | 20 March 2011 â 12 June 2011.
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Crow, Kelly. "An Artist Delves Into the Lives of Spies."
93:
in 1973. She graduated with a Bachelor of Fine Arts from
911:, Artforum. 22 January 2018. Retrieved 18 February 2020.
934:
Jill Magid, The Proposal. Ed Nikolaus Hirsch and others
1392:âWoman With Sombreroâ | 14 March 2014 â 19 April 2014.
1342:
Project Profile: Jill Magid at the 2019 Ural Biennial.
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199:. Previously, Magid was an artist-in-residence at the
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Museo Universitario Arte ContemporĂĄneo, Mexico City.
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Rijksakademie van beeldende kunsten. Alumni Archive.
1536:, LA Times, May 30, 2019. Retrieved January 8, 2020
936:, Critical Spatial Practice, Sternberg Press, 2016.
137:(2016); Berkeley Museum of Art, California (2011);
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500:In a letter to AIVD, Magid remarked: "âThe book,
16:American conceptual artist, writer, and filmmaker
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101:, and received an MS in Visual Studies from the
1591:Chrissie Iles, in conversation with the artist.
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1016:"Jill Magid: With Full Consent | Press Release"
762:"With Full Consent | June 27 - August 24, 2004"
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1484:, 8 November 2019. Retrieved 20 February 2020
537:, in turn, are barely mentioned in the book.
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1707:Massachusetts Institute of Technology alumni
183:Magid is represented by LABOR, Mexico City.
577:Dia Art Foundation, Exhibitions: Jill Magid
235:the surveillants located her on their own.
909:âJill Magid Awarded $ 50,000 Calder Prizeâ
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666:Whitney Museum of American Art, New York.
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1497:, 23 May 2019. Retrieved 20 February 2020
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883:Vera List Center for Art and Politics.
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1267:"Review: Jill Magid, Gagosian Gallery"
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546:control and social space inside out."
127:Museo Universitario Arte ContemporĂĄneo
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289:The first exhibition of the project,
197:Vera List Center for Art and Politics
103:Massachusetts Institute of Technology
59:Massachusetts Institute of Technology
7:
1355:"The BarragĂĄn Archives | Jill Magid"
1318:"The Architect Who Became a Diamond"
482:
456:One Cycle of Memory in the City of L
441:
437:One Cycle of Memory in the City of L
413:(83 min, 2018), was commissioned by
241:One Cycle of Memory in the City of L
1742:21st-century American women writers
1737:21st-century American women artists
201:Rijksakademie van Beeldende Kunsten
105:. She currently lives and works in
81:bureaucratic process, and the law.
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520:
195:, and was a 2013â15 fellow at the
133:of American Art, New York (2010);
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1459:, 2018 Accessed 20 February 2020.
1418:Oscilloscope Films, The Proposal.
707:Berkeley Art Museum, California.
1664:Rubin, Elizabeth. "Jill Magid."
1457:The Proposal, Tribeca Film Guide
507:A redacted paperback version of
218:, published by Sternberg Press.
1562:Smith, Roberta (26 July 2007).
1316:Gregory, Alice (25 July 2016).
1221:Mizota, Sharon (14 June 2012).
813:Modern Art Museum of Fort Worth
210:She is also the author of four
170:Modern Art Museum of Fort Worth
1614:"Jill Magid On The Proposal,"
1521:âWho Owns An Artistâs Legacy?â
1265:Bentley, Kyle (October 2007).
1201:"Jill Magid: Failed States PR"
1078:"Article 12 / The Spy Project"
672:| July 1 â September 12, 2010"
168:, The Netherlands (2008); the
1:
1675:Institute of Network Cultures
1053:"Level 2 Gallery: Jill Magid"
733:Stedelijk Museum, Amsterdam.
694:San Francisco Art Institute.
336:, her 2011 exhibition at the
149:, Paris and New York (2009);
68:Artist, Writer, and filmmaker
1727:American performance artists
922:Artist Bio Page: Jill Magid.
885:Jill Magid: Fellowship Page.
874:. Retrieved 18 February 2020
861:. Retrieved 18 February 2020
834:"The Migration of the Wings"
579:. Retrieved 16 February 2020
521:the project of the same name
409:Magidâs first feature film,
348:'s nineteenth-century poem,
1722:American multimedia artists
1420:Retrieved February 20, 2020
1394:Retrieved February 20, 2020
1179:"Jill Magid: Failed States"
788:| April 20 â June 15, 2008"
618:. Accessed 18 February 2020
135:San Francisco Art Institute
32:1973 (age 50–51)
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1732:21st-century American Jews
1471:Retrieved 20 February 2020
1381:Retrieved 18 February 2020
1377:Art In General, New York.
1359:jillmagid.paas.webslice.eu
1344:Accessed February 20, 2020
1149:"Jill Magid: Closet Drama"
924:Retrieved 18 February 2020
899:Retrieved 18 February 2020
887:Retrieved 18 February 2020
750:Retrieved 18 February 2020
737:Retrieved 18 February 2020
724:Retrieved 18 February 2020
711:Retrieved 18 February 2020
698:Retrieved 18 February 2020
656:Retrieved 18 February 2020
325:on several media outlets.
211:
155:Centre D'arte Santa Monica
145:Bureau Amsterdam (2005);
1609:LABOR Gallery artist page
670:A Reasonable Man in a Box
603:Jill Magid, Bomb Magazine
451:Lincoln Ocean Victor Eddy
405:The Proposal (Film, 2018)
316:, was published in 2010.
1495:Jill Magid; The Proposal
1482:Jill Magid: The Proposal
1099:"Jill Magid: Article 12"
746:Yvon Lambert, New York.
1717:Jewish American artists
1657:The Wall Street Journal
1288:"Auto Portrait Pending"
616:Jill Magid Faculty Page
511:was published in 2010.
153:, New York (2007); the
91:Bridgeport, Connecticut
36:Bridgeport, Connecticut
859:Jill Magid Artist Page
375:Auto Portrait Pending
207:Grant from 2001â2002.
187:Awards and residencies
129:, Mexico City (2017);
1506:Jeannette Catsoulis,
1390:Yvon Lambert, Paris.
1227:The Los Angeles Times
1124:"Books by Jill Magid"
979:"Books by Jill Magid"
782:Stroom, Netherlands.
628:Tate Modern, London.
590:Jill Magid, ArtReview
425:Tribeca Film Festival
385:The BarragĂĄn Archives
366:Auto Portrait Pending
340:, and the subsequent
1712:Jewish women artists
1659:, 19 September 2009.
1604:Jill Magid's website
1519:Michael OâSullivan,
857:LABOR, Mexico City.
519:(2012) departs from
157:, Barcelona (2007);
1147:Thomas, Elizabeth.
870:Harvard University
809:"FOCUS: Jill Magid"
338:Berkeley Art Museum
307:Authority to Remove
1677:, 29 October 2004.
1572:The New York Times
1294:on 23 January 2013
1014:Gagosian Gallery.
760:Gagosian Gallery.
614:The Cooper Union,
588:Aoife Rosenmeyer,
471:The New York Times
193:Harvard University
180:, Belgium (2023).
95:Cornell University
89:Magid was born in
56:Cornell University
1618:, September 2016
1566:With Full Consent
1493:Centre Pompidou,
947:"Evidence Locker"
541:Critical response
125:, London (2009);
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1575:. Retrieved
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1296:. Retrieved
1292:the original
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1182:. Retrieved
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559:Sophie Calle
555:Adrian Piper
551:Vito Acconci
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147:Yvon Lambert
141:(2009); the
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1697:1973 births
1645:, May 2011.
1627:, May 2012
920:Fathomers.
535:exhibitions
495:Tate Modern
469:Writing in
371:gold ring.
162: [
123:Tate Modern
117:Exhibitions
44:Nationality
1686:Categories
1577:15 January
1443:2020-11-16
1364:2016-07-29
1327:2016-07-29
1298:15 January
1248:"Life Gem"
1232:16 January
1206:16 January
1184:16 January
1157:16 January
1129:16 January
1108:16 January
1083:16 January
1058:16 January
1021:15 January
984:15 January
952:15 January
793:15 January
786:Article 12
767:17 January
677:15 January
635:15 January
565:References
295:Article 12
291:Article 12
248:Final Tour
75:Jill Magid
23:Jill Magid
1634:Art Info,
1001:ArtReview
843:August 7,
818:August 7,
473:, critic
256:Le MĂŠpris
205:Fulbright
52:Education
1643:Artforum
1625:Artforum
1616:Artforum
1274:Artforum
1252:Life Gem
481:Part of
174:M-Museum
107:New York
47:American
1666:Bidoun
346:Goethe
178:Leuven
38:, U.S.
1270:(PDF)
1152:(PDF)
431:Books
420:Vitra
351:Faust
260:Trust
258:. In
212:books
166:]
1668:#10.
1579:2013
1300:2013
1234:2013
1208:2013
1186:2013
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845:2023
820:2023
795:2013
769:2013
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637:2013
557:and
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280:AIVD
85:Life
29:Born
561:."
97:in
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