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November 22, 2004

Evidence Locker

A fascinating use of surveillance technology in the purposes of art. It isn't uncommon for artists to use cctv (and other surveillance) technology, but one of the most interesting aspects of this is that the artist worked in collaboration with the operators of the surveillance system (in this case, Liverpool).

While I haven't ever tried anything this advanced, I have found that a good faith approach to cctv operators at schools, hotels, and even a mall, have been well received and the operators have been open and forthcoming. Not the secretive or uncooperative 'authorities' that you might imagine. The cctv operators at SFU's main campus as well as the harbour centre campus where I work, have been particularly helpful, granting interviews to my students and coming in to be guest speakers to my class.

Evidence Locker

For the Liverpool Art Biennal, American Jill Magid worked with the operators of the city's CCTV surveillance cameras to teach them the techniques of professional filmmakers.

2004_2928.jpg

During one month, Magid wore a red trench coat and boots, ensuring she could be easily spotted throughout the city. She called the police on duty with details of where she was and asked them to film her in particular poses and even guide her through the city with her eyes closed - all using the public surveilance cameras.

All around Magid, the most innocent passers-by were transformed by the camera's behaviour into potential bag-snatchers, rapists and serial killers.

The final work was made of two installations. Evidence Locker at Tate evokes the space of the CCTV monitoring station, with a soundtrack of the police log being read aloud, and CCTV footage featuring the artist. Evidence Locker at FACT reveals her evolving relationship with the CCTV staff through a daily diary and video projections.

Till November 28th at the FACT gallery in Liverpool.

Via Neural.

Source: we make money not art

Posted by Richard Smith at November 22, 2004 08:53 AM