Late Call

Late Call is a screening event drawing together artist films relating to the artists’ current film in production, Receiver. Over the course of a protracted telephone call, conversation drifts to reveal stories of language, identity and resistance. Late Call uses research for Receiver as medium and material, exploring fraught histories of the telephone, Alexander Graham Bell and his legacy within Deaf culture to trouble notions of speech, communication and privilege. Receiver and Late Call have been supported through the IMMA 1000 programme

For Process | Event Jenny is showing Carl Callum’s A Part of Me (1998, Video, 20 minutes), Carolyn Lazard’s Consensual Healing (2018, HD Video, 13 minutes) and Hollis Frampton’s Critical Mass (1971, 16mm, 25 minutes).

‘In Carl Callum’s A Part of Me, a young British black man observes how his white foster family and his biological Jamaican mother squirm when questioned about the cultural and racial complexities of his life. Interviewing his foster mother and aunt in person, and his biological mother on the phone, the artist upsets the delicate propriety of these relationships, in both cases unveiling unspoken intentions and decisions that have shaped his life.’ – Maria Troy. Wexner Centre for the Arts

‘In Carolyn Lazard’s Consensual Healing, a conversation between a therapist and their client unfolds as a yellow ball swings back and forth. Replicating simple animations of online EMDR videos used to treat Post-Traumatic Stress Disorder, Consensual Healing feeds Octavia Butler’s short story ‘Bloodchild’ through scripted therapeutic protocols, destabilising relations between coercion and consent, form and content, trauma and fiction‘. – Text by the artist

“As a work of art I think Critical Mass is quite universal and deals with all quarrels (those between men and women, or men and men, or women and women, or children, or war). It is war!… It is one of the most delicate and clear statements of inter-human relationships and the difficulties of them that I have ever seen. It is very funny, and rather obviously so. It is a magic film in that you can enjoy it, with greater appreciation, each time you look at it. Most aesthetic experiences are not enjoyable on the surface. You have to look at them a number of times before you are able to fully enjoy them, but this one stands up at once, and again and again, and is amazingly clear.” – Stan Brakhage
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Jenny Brady is an artist based in Dublin, currently IMMA 1000 artist-in-residence at the Irish Museum of Modern Art (2017-2018). Recent and future presentations include The L-Shape, The Dock curated by Alice Butler; Its Origins are Indeterminate curated by Erik Martinson, Whitechapel gallery, London; The Political Animal, The Showroom, London; Against Ordinary Language by Sarah Browne, Tate Liverpool; As We May Think curated by Alice Butler, IFI, Dublin; November Film Festival, Goldsmiths, London; Berwick Film & Media Arts Festival, Berwick-upon-Tweed, UK; 62nd International Short Film Festival Oberhausen, Germany; and You Ain’t Seen Nothin’ Yet, Beursschouwburg, Brussels and Videonale 15, Kunstmuseum, Bonn; Roadkill (Irish Museum of Modern Art); Experimenta at BFI London Film Festival; EVA International 2014 curated by Bassam El Baroni, Images Festival 2014.

She is co-founder and co-curator of PLASTIK Festival of Artists’ Moving Image.