fanvid is a DIY film club with a rolling open call for short films, phone videos, TikToks, archive footage and everything in between. Organised collectively since 2022, the club continues to host regular screenings and one-off curated events at Kirkos. This programme, curated by Alice Quinn Banville for DISSOLUTIONS ‘25, follows on from last year with another selection of fanvid submissions alongside new work made by previously featured artists.
‘Making do’ is a nod to self sufficiency, but also to the handmade, craft approach taken by the artists featured, from collaged archive footage and manipulated online content to hand drawn stop motion, written letters and engraved coins. Where the films differ in form and focus, threads appear throughout, woven around memory, commemoration and documentation (geographical, historical, familial, digital) and the struggle between perception and reality.
This programme is curated for DISSOLUTIONS 2025 by Alice Quinn Banville who will lead a Q&A with featured artists after the screening
FILM INFO:
Mícheál Keating, Ireland (for desktop wallpapers, voice and electronics) 8 mins, 2024
Dan Montague O’Brien, THIS IS A PRIVATE VIDEO, 5 mins, 2025
Laura Fitzgerald, Rules of the Road, 4 mins, 2024
Cóilín O’Connell, Modus Vivendi, 5 mins, 2025
Michelle Malone, Great Uncle Joe, 12 mins, 2021
Senan Rogers, tutorial, 5 mins, 2024
Paul O’Neill, we are all going to make it, 8 mins, 2024
Tess Nye, anotherhorrormovie, 1 min, 2025
Holly Pickering Actor, 6 mins, 2025
Juno Claffey Hegarty & Alannah Davey, I am Here, 5 mins, 2025
Total running time: 56 minutes
Alice Quinn Banville is a producer and curator based in Dublin, with a focus on contemporary and experimental work across visual art, moving image and performance. Having previously worked with Temple Bar Gallery + Studios, GoShort, IMMA and De Appel, she is currently Associate Producer with Pan Pan and Creative Producer for Festival in a Van, as well as producing for various independent artist projects. She is the recipient of Agility, Bursary and Project Awards from the Arts Council and DTF & PAF’s Next Stage ‘Wild Card’ award. She helps co-ordinate fanvid as well as Daylight, a member-led space for art and community in Glasnevin.
Film synopses & filmmaker bios
Mícheál Keating, Ireland (for desktop wallpapers, voice and electronics), 2024, 8 mins
An homage to the incredible beauty of Ireland – a quaint and unspoiled haven where you can experience the iconic ryegrass fields, bask in the romance of colonial architecture, and maybe even discover a little bit of your wild side! Featuring imagery crawled from a Google search of “Ireland desktop” overlayed with an ethereal vocal and electronics performance, Ireland is sure to have you reaching for your Amex card to book those Aer Lingus tickets ASAP!
Mícheál Keating is a musician and media artist from Limerick, Ireland. His practice spans sound composition, improvisation, and performance, as well as photography, video, writing, found media and generative systems. He synthesises these elements into uncanny multimedia explorations of the rural Irish landscape. His work foregrounds hauntology, immanence, and becoming in the landscape, while tracing entanglements between human, non-human, and land.
Daniel Montague O’Brien, THIS IS A PRIVATE VIDEO, 2025, 4 mins
THIS IS A PRIVATE VIDEO is a four minute art film using found materials sourced from Youtube. The short consists of Pat Kenny alone in his home, looking down at you through a webcam, breathing through his nose and sometimes typing. It is Daniel Montague O’Brien’s first film work and was made as part of Temple Bar Gallery’s Spring School workshop series “Mean but not Exactly” facilitated by Frank Sweeney.
Daniel Montague O’Brien is a sound-designer, composer and artist based in Dublin. Daniel has designed and operated sound in venues across Dublin, and for theatre companies such as Gift Horse Theatre, Blue House Theatre and Guna Nua Theatre. His most recent sound design credits include “Trifled” (Dublin Theatre Festival, 2024), “Don’t Copy Me (Copy)” (Dublin Fringe Festival 2025) and “Glass Places” (Dublin Fringe Festival 2025).
Michelle Malone, Great Uncle Joe, 2021, 12 mins
Great Uncle Joe is a screening that weaves together music, audio, and moving archive images. It features children playing in The Bayno and the Iveagh Baths, places her late great uncle Joe visited in childhood before being sent to Artane Boys Industrial School. The work also incorporates archive footage of formations and gymnastics from Artane in the late 1940s, reflecting the period Joe lived there and evoking the atmosphere of his formative years.
Michelle Malone’s practice is based on her experience growing up in a variety of social housing systems in inner city Dublin, mainly Oliver Bond flats. Her multi-disciplinary installations comprise sculpture, image-making, oral histories, audio and text. Her practice seeks to give material voice to working-class histories from the perspective of lived experience. It is her belief that it is much needed in the art industry to let marginalised people tell their own story.
Cóilín O’Connell, Modus Vivendi, 5 mins, 2025
Modus Vivendi combines found and original video and audio to explore collecting as a form of collage and authorship. Audio from the youtube channel of coin collector and armageddon obsessed ‘prepper’ is layered over footage of the process of countermarking and selling coins via ebay.
Cóilín O’Connell is an artist from Dublin, working in video, sculpture, drawing and publishing.
Holly Pickering, Actor, 2025, 6 mins
Circulating around ideas of perfection, performativity and failure, Actor uses women’s competitive gymnastics as a lens to examine broader demands of femininity.
Holly Pickering is an artist from Waterford. Her practice moves between moving-image, publication-making, and writing to explore questions surrounding communication. Her practice is attuned to human behaviours and the ways in which social conventions mediate emotions, gestures, and speech as they unfold within interpersonal interactions. Drawing on cinematic, literary, and pop cultural references is central to how these concerns are articulated.
Laura Fitzgerald, Rules of the Road, 2024, 4 mins
The rules of the road are no longer clear. The rules of the road are no longer respected. The other road users are doing strange things, bad things; that are making it very difficult to move through time and space, and some of us haven’t even learned to drive yet. Let it go, lift the finger? We will have to learn to get on. They are not making any more of it.
Laura Fitzgerald is a visual artist working in drawing, painting, installation, video, animation, audio and text. She is a graduate of both the National College of Art & Design, Dublin and Royal College of Art, London. In 2024, she received a Markievicz Award to work with the archive of the experimental animator and filmmaker, Flora Kerrigan. The body of work culminating from this award titled; The Gecker One’s, was shown recently at Lismore Castle Arts, curated by Paul McAree.
Tess Nye, anotherhomomovie, 2025, 1 min
Appropriation in film is cool! anotherhomomovie uses media I discovered via the Internet (thank you algorithm overlords), including clips from the documentary Dirty Girls by Michael Lucid, an early 2010s interview video featuring Claire Boucher, celluloid fragments from Gregg Araki’s Totally F***ed Up, and an iconic Twin Peaks dance sequence.
Tess Nye is a filmmaker from Portland, Oregon, currently studying at Trinity College. As an avid media consumer, Tess enjoys crafting digital, audio-visual collages that mix content discovered online with videos, images, and music she creates. She derives inspiration from music videos and fan-made edits, rooted in a deep interest in digital theory and how people navigate, perform, and shape their identities within constantly evolving digital spheres.
Paul O’Neill in collaboration with Frank Sweeney, we are all going to make it, 2024, 8 mins
we are all going to make it is an experimental short film that explores fragmented online narratives and technopolitical realities using archival sources with footage captured in Cyprus during the summer of 2023.
From aesthetic bodybuilding communities and toxic masculinity to military vloggers, crytpofads and the colonial legacies of communications infrastructure, we are all going to make it offers a playful critique of the technodelusionism underpinning contemporary algorithmic culture. This work was realised within the framework of a European Media Art Platform residency at NeMe with support from the Creative Europe Culture Programme of the European Union.
Paul O’ Neill is an artist and researcher based in Galway. His practice and research are concerned with our collective dependency on networked technologies and infrastructures. Paul has exhibited and presented his work at galleries and institutions including Science Gallery (Ireland), Ars Electronica (Austria), NeMe (Cyprus), Onassis Stegi (Greece) and SAW (Canada) and his research has featured in publications from the Institute of Network Cultures (Netherlands) and ANNEX – Ireland’s representative at the 2021 Venice Architecture Biennale.
Senan Rogers, tutorial, 2024, 5 mins
After failing to follow the steps of a tutorial video, a man is sent hurtling through a strange digital hellscape.
Senan Rogers is a 24-year-old filmmaker from Dundalk, Co. Louth. He is a lifelong film fan and has recently started Evil Twin Films. So far, Senan has made 4 projects under this banner including the experimental short Tutorial. Senan has aspirations to make a feature film in the near future.
Juno Claffey Hegarty & Alannah Davey, I am Here, 2025, 5 mins
‘I am Here’ is a film in presentation form displaying falsified memorabilia from a trip never taken. On this trip, the artists visit sites of bureaucratic vagaries, geographic features, historical radiations, and beautiful sanctuaries; mapping emotional journeys of gay longing, struggles with power and fluctuations in identity.
Alannah Davey and Juno Claffey Hegarty graduated together from NCAD in 2025 with a joint honours in media and visual culture. They have spent the last three years developing a shared performative film practice. Humour is used to speak to power, queerness, friendship, and magic. Working with structures of nature and folklore, together with historical and site research, the resulting works are lighthearted and dense. Collaborative works include Party Prince (2023) and I am here (2025). Solo works include Being and the Pasty (2022) and Blue Whale vs Vatican City (2025) by Juno Claffey Hegarty and Tain Reaction Video (2024) and World of Pain (2025) by Alannah Davey.
