Commissioned by Liverpool Biennial International 2004, and exhibited at the FACT Centre and Tate Liverpool, Evidence Locker is an installation on a DVD created by the artist Jill Magid of U.S. origin, which has used the 242 CCTV cameras present in Liverpool, to create a movie that was both a personal diary, this is a portrait of the city itself. In fact, wearing a trench coat and red boots very showy, and taking long walks, the artist has lived in Liverpool thirty-one days, exactly the same amount of time that elapses before the records kept by the police should be deleted, unless you request it back in vision, as it did in fact Jill Magid. The installation consists of two parts: first, at the Retrieval Room of FACT, the work is presented in the form of reflections and descriptions deeply romantic and intimating, and, as if it were a video diary, Jill Magid showed itself in areas beyond the reach of cameras. The other part of the installation is to Evidence Locker exhibited at Tate Liverpool, and is inherent in a video filmed by the artist walks CCTV cameras. Through this work, which brings to mind the performance of the New York Surveillance Camera Players, Jill Magid, instead of showing citizens as victims of Big Brother, enacts a kind of seduction game against surveillance cameras, creating an unprecedented point view of art activism, with strong female connotations, and going to fathom the possible duality between privacy and security. Jill Magid, in another recent work done in Amsterdam, he also wanted to play with the idea of ​​visible-invisible, decorating with rhinestones security cameras and inventing ad hoc, for reclamizzarle and sell them as common products, an ironic advertising reminiscent of the works of James Rosenquist sixties. Undoubtedly, since the mid-nineteenth century, the invention and the introduction of increasingly widespread in the company of new technological elements, saw "the beginning of a restoration (albeit with a higher degree of centralization always) economic control and political control over those peripheral areas of the company, during the Industrial Revolution, there had escaped "(Beninger), for which, on the one hand, the only message that can currently reach a citizen through the cameras is that of a meticulous desire for control, on the other Jill Magid, by means of his particular installation, comes to deliberately change the message sent the cameras themselves, claiming the right of the individual to remain opaque and implementing a conscious "aberrant decoding" (Eco), for which the misinterpretation of the code of communication frustrates the transmission of the message; through irony, you get to the displacement of the passive role of the citizen, so far intended to be controlled, and, ultimately, to the ideological dispute, a gesture that, without the proper proportions, is linked to the slogan of the hippies on the flowers in the guns.