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Jill Magid, by Aoife Rosenmeyer / ArtReview

Jill Magid

Aoife Rosenmeyer looks at the artist who's infiltrating control systems and defining individuality in the age of mass surveillance

By Aoife Rosenmeyer

Trust, 2004 (video still), DVD,  edited CCTV footage and audio, 18 min . Courtesy the artist and RaebervonStenglin, Zürich Evidence Locker. Control Room, 2004 (video still), two-channel digital video, edited CCTV footage, 10 min, loop (no sound). Courtesy the artist and RaebervonStenglin, Zürich Der Trog  (installation views, Art Basel Parcours, 2013). Courtesy the artist and RaebervonStenglin, Zürich I can burn your face, 2008, neon light, 31 × 97 cm. Courtesy the artist and RaebervonStenglin, Zürich

The use of CCTV in British public spaces exploded during the 1990s; between 1992 and 2002 it accounted for more than £250 million of public funds. By the time American artist Jill Magid’s videos in the series Evidence Locker and the installation Retrieval Room (all 2004) were shown at the Liverpool Biennial that year, there were 242 CCTV cameras operating in the city. To make her works (which comprise five different narratives constructed from edited CCTV footage), Magid spent 31…

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