Willoughby Sharp

Police State

Nick Zedd

Nick Zedd, Rockets Redglare

Zedd is minding his business, when he is stopped by a cop who accuses him of being a junkie. After a short argument he is beaten and dragged to the police station. At the station he is interrogated by a detective (Rockets Redglare) and the police chief. After being beaten and tortured several more times, Nick Zedd's character mutilates himself with some hedge cutters.

I Was a Quality of Life Violation

Nick Zedd

Faceboy, Jennifer A. Flynn

An old lady looks for her missing dog and is arrested for putting up posters.

Whoregasm

Nick Zedd

Nick Zedd, Susan Manson

Nick Zedd's controversial and disturbing WHOREGASM is a twelve-minute barrage of sexual loops interspersed with bits of found footage, dizzying opticals, and outtakes of Zedd's own POLICE STATE. The sex scenes, most which appear to be taken from old 8mm stag reels, are edited in such a way that makes the act of sex seem impersonal, mechanical, and altogether vile.

Hands Across the Border

Liza Bear, Willoughby Sharp

Hands Across The Border was a seven city slow scan collaboration. With participation from Paul Wong, Sharon Levett & Daryl Lacey, Video Inn, Vancouver;Randall Lyon & Gus Nelson, Televista Projects, Memphis; Sharon Grace, Video Free America, Berkeley Art Museum, U.C.; Peggy Cady, Bill Bartlett, Chas Leckie. Open Space, Victoria; Felix Partz, Jorge Zontal & Willoughby Sharp, General Idea, Toronto; Liza Bear & Robin Winters, Center for New Art Activities, NY.; et al. Slow-scan television equipment used a computerised memory to sample a picture from a television camera every few seconds, “freeze” it and send it down a telephone line as an audio signal. The machines could only be used between two points at a time. At the receiving end, the signal was decoded and slowly scanned out a still frame on a television monitor.

Willoughby Sharp Videoviews Vito Acconci.

Willoughby Sharp

Vito Acconci, Willoughby Sharp

This early document is a videotaped interview ("videoview") of Vito Acconci by Willoughby Sharp during which they discuss Acconci's development as an artist. The intimate conversation addresses such concerns as Acconci's thoughts on the exhibition space, his transition from the page to the performance, and the role of video and photo documentation for performance art in general.