Hours of conversations with Miranda I, II or III
-Artist made work for the AIVD on the basis of conversations with agents
-Commission in line with new, 'open' policy of secret service
The Hague During the past two years artist Jill Magid regularly received mysterious telephone calls. 'Be at cafe Dudok on Tuesday at two',
would be the instruction of the AIVD contact. 'A woman will approach you'. A lengthy conversation with Miranda I, II of III would
follow. Miranda was the codename for women, the men would be 'Vincent'.
Commissioned by the secret service Magid made the art project 'Article 12' for which she spoke with eighteen anonymous employees of the AIVD. The conversations were translated into artworks, now on display at STROOM in The Hague.
Through this project the Secret Service wants to present a more human face. It is in line with the new policy of more openness towards the public that the AIVD strives for. The service also published certain investigation-reports and presented an extensive annual report yesterday.
Magid was not to talk about actual investigations with the agents she met, like the one concerning FITNA or The Hofstadgroup. Nevertheless she made the service somewhat nervous, Magid remarks. 'Right before the exhibition opened they came to have a look. That felt like they were checking-up'.
AIVD spokesman Postma explained a different version of the origin of one of the artworks in the show, in order to obscure its true origin. Magid had been inspired by the personal story of one of the AIVD agents, who had uttered strong criticism towards the CIA - SEE PAGE #
(the following paragraph in a blurb) The secret service thrives for openness 'where it can' The commission of Jill Magid fits into the policy of the AIVD to be more open about matters, for example by publishing extensive annual reports on their investigations. 'Closed where must be, open where can be' is their slogan. "In times of the cold war there where no questions asked on the necessity of a secret service. That is different now', says AIVD spokesman Theo Postma. In order to do their job they have to be secretive, but the AIVD also benefits from a degree of openness. 'We like there to be a humane and realistic image of our organization, for example because we want to be an attractive organization to work for. The AIVD has bought art before, but that Magid got to talk to the agents was unique. Postma 'We made clear agreements. Jill could do her interviews but did not know sensitive details like names or addresses.'
'It was as if they needed me'
-Continuation of page 1- The attempt of the secret service AIVD to cover up their criticism of the CIA had to do with a bronze sculpture by Jill Magid that is also on display in article 12 at STROOM. This sculpture, called 'The shepherds' originated on the basis of a conversation the artist had with one of the anonymous agents of the AIVD. He referred to the AIVD investigators as 'shepherds'. AIVD spokesman Postma says this was after Magid had called the AIVD agents 'hunters'.
But that is not how it went, says Magid (1973, US) 'Why would they make something like that up?' Indignant she recalls the original conversation with the anonymous agent. She says he was very critical about the brutal way the CIA deals with informants. 'Just like cowboys'. Magid: 'If the CIA consists of cowboys, than what are you at the AIVD?' I asked him. 'Shepherds', he replied. That is why I had a cowboy in Colorado make this sculpture. Magid thinks that the AIVD fears the CIA will not take their 'cowboy' criticism lightly.
Although the artist was not allowed to talk about concrete investigations this commission provided a unique opportunity to speak with AIVD agents. The agents are not allowed to speak about their work according to regulations.
The work of Jill Magid has been dealing with large, invisible systems for some time now, which was also the reason the AIVD invited her for the assignment. 'I look for intimacy, humaneness. I find it interesting that a surveillance-camera system or a secret service is seen as normal in society, without people really knowing how they operate. I want to make that invisibility visible.'
Magid came across Article 12 of the law that says the AIVD does not process information dealing with religion, race, health and sexuality. 'That fascinated me, because one could wonder what else a person is besides those aspects?' then I got the idea to collect personal information of AIVD agents.
After the service had screened the artist during half a year the meetings in the cafes followed. A video pointed out the opportunity of meeting Magid to the agents; a contact would arrange the actual meetings. In that way she interviewed eighteen employees (some of them multiple times) about their family life, passions, emotions and about the pressure generated by the inhibition to speak about their jobs freely. 'Some of them collaborated eagerly with me, as if they really needed me. If you can never talk about your work it must feel very good to be finally able to share some of it with someone.'
Magid was not interested in details about the job; she concentrated on the psychological side. 'Many are frustrated when the AIVD is represented negatively in the news and they cannot react to that. But they also spoke about their marital lives and affaires within the organization. One of the agents had even had a secret affair with an informant in the field'. For a moment she looks worried. 'Or maybe I should not have said that?' Then: 'Well, if they want to emphasize their humanity this is part of it'.
Magid did not conceal a judgment on the AIVD in her work. 'That would have been too easy'. She merely observes. A blinding red neon-installation spells texts from her notebooks: 'red skin' or 'dedicated photographer'. The installation is called 'I can burn your face'. Magid: 'To burn one's face is what the AIVD calls the act of exposing the identity of an agent. 'With all the personal details I convey here I burn the faces of the agents that I interviewed, as it where.'
Article 12 -t/m 15 June in Stroom, Den Haag. www.stroom.nl
Sandra Smallenburg (Translated by Bart Groenendaal)