The solo work SwitchPositionFreezeControl is based on the precise self-observation through video monitoring and the eyes of the spectator/observer.
From self-study to communication, the performance draws a tense line between performer and audience, questioning the status of both as well as their relation, exploring the language, perception and representation of the body in a wide range.
The invention of yourself in real time. A self-study. An experiment. A kind of installation. A real moment. "An Bewegungen, die einer nicht gewöhnt ist, lässt sich leicht zeigen, dass sein Ich-Bild bei weitem nicht so vollständig und genau ist, wie er meint. Die Differenz zwischen Bild und Wirklichkeit beträgt oft 300% und noch mehr." (Moshé Feldenkrais)
Approach to Work:
The development of a specific body language based on the observation of the body patterns in quotidian/private situations, and the transcription of these patterns in an articulated body language, using tools as composition in real time, vocabulary of video editing applied to movement, strategies and rules (loops, repetitions, changes of point of view) for the construction/ deconstruction of a situation.
The approach of the performance as a moment of visibility of the process more than as a product, by creating loose associations, by proposing elements to be combined (more than a combination of different elements), by letting space for an own reading, understanding, recognition, identification, by letting images only appear, pass and transform. Increasing the readability of the "writing", using accidents, coincidences, failures and imperfections in their very moment of happening, the work connects to the present, shows the reality of the instant through processing and creating in real time.
A proposal to the audience to find their own rules and connections, to question their point of view and expectations, to discover more than to receive.
The 2.4 GHz ISM band is a small section of the radio spectrum available for unlicensed public use.
Wireless routers, bluetooth enabled gadgets and wireless CCTV utilize the 2.4 GHz frequency band and have become affordable enough to result in widespread consumer use. Since 2002 my artistic practice has focused on private use of wireless CCTV throughout cities in Europe and North America. In a series of street interventions and workshops, a video scanner and monitor is used to intercept and rebroadcast wireless surveillance feeds, giving the public access to normally unseen views of the city.
These activities seem to suggest a critical response to the widespread use of surveillance and contribute to a discourse around individual privacy rights and crime prevention. However, I would propose that they also create public awareness of the presence of invisible spaces within urban environments that the private citizen creates through consumer use of security products. In this presentation I will present artistic methods that explore research questions that regard surveillance as space and how it is produced by our interaction with technology.
Control is, as we know, not only something coming from an outside, telling us what to do and what not to. In our daily lives we are part of heterogeneous, discontinuous and sometimes hard to grasp control
mechanisms. steirischer herbst, one of the oldest festivals for all contemporary art forms, asked in this years program questions about control, collaboration and open source in several artistic projects, exhibitions, compositions, but also in theoretical workshops and lectures. In this lecture Florian Malzacher, co-programmer of the festival, and Gesa Ziemer, the festivals co-curator for theory, present the results of this concept, and reflect on the limits and possibilities of a festival as site of discourse practices.
I seek intimate relationships with impersonal structures. The systems I choose to work with- such as police, CCTV, and forensic identification, function at a distance, with a wide-angle perspective, equalizing everyone and erasing the individual. I seek the potential softness and intimacy of their technologies, the fallacy of their omniscient point of view, the ways in which they hold memory (yet often cease to remember), their engrained position in society (the cause of their invisibility), their authority, their apparent intangibility- and, with all of this, their potential reversibility.
After receiving a Masters of Science in Visual Studies from the Massachusetts Institute of Technology in 2000, Magid relocated to Amsterdam, NL as a resident at the Rijksakademie van Beeldende Kunsten, and has since been showing internationally.
A solo exhibition of new works, Libration Point, was exhibited at the Stedelijk Museum Bureau Amsterdam, 2005. Her work has been included in shows at De Appel in Amsterdam, Balance and Power curated by Michael Rush at the Krannert Art Museum in Illinois and the Rose Art Museum in Massachusetts, Positioning statement | Image Cairo 3 in Cairo, Egypt, DMZ 2005_Korea: A project between North and South Korea, and at the Liverpool Tate during the Liverpool Biennial International ’04.
Upcoming exhibitions include a solo show at CASM in Barcelona (March 2007), Naked Life curated by Manray Hsu in MOCA Taipei, and a public installation/ commission at Situation Leeds in the UK. She recently won a commission from the Lower Manhattan Cultural Council to produce her new video work, L-O-V-E.
Jill Magid is currently a resident artist at Eyebeam in New York City, a visiting artist at Cooper Union, and a lecturer at University of Pennsylvania. She resides in Brooklyn and Amsterdam.