Through a selection of six video works spanning three decades, Session_8_Video follows a thread which relates to domesticity, common to both the format of video as a medium and the television set on which it is often seen.
Berlin based artist Dan Rees has been invited to select objects or sculptures to sit on top of the televisions; a kind of extra-curatorial gesture extending the associations of the TV set, which often serves as a household ‘plinth’ of sorts.
John Smith's subtle Home Suite takes the viewer on a narrated tour of the artist's own house, shortly before he is to be evicted. We are let in on intimate and banal personal histories as the camera slowly examines details of the house's idiosyncrasies.
In Actions at Home David Bestué & Marc Vives contrive a series of situations which are part pastiche, part homage to the history of video performance.
In Viola Yesiltac's For Annelise it appears as though we observe the living room from the position of the television, as the artist's cousin plays the piano for Yesiltac's grandmother, a former music teacher, as they meet for the first time.
In vivid, almost violent colour, Gorgeous Ladies of Wrestling by Michel Auder sees women wrestle each other in a video that slides between being soft porn and a comi-tragic bout of popular entertainment.
By editing together movie clips from a succession of Tom Cruise films, Jack Strange's work Tom sees the pin-up movie star seamlessly run from one role to another, back to the beginning of his career.
In Touch My Body (Green Screen Version) Oliver Laric inverts the role of the ubiquitous green screen, used to lay artificial backgrounds over high budget video productions. Mariah Carey invites us, context-less, to 'touch my body'. She becomes a comic puppet, dissolving the illusory façade of the pop video at the same time as providing a YouTube remix opportunity for fans.