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Frank Sweeney

@frankbeee

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Film + Sounds ~ @repeaterepeater collective.
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Movement and Translation The Masonic Screen in collaboration with the Belfast Film Festival are screening three new experimental works in Vault’s newest location in East Belfast. Saturday, 7th Nov, 6pm - ticket link in bio The Glass Booth by Jenny Brady considers the role of interpretation in society. What must we consider when translating from one language to another? How do you paraphrase an emotion? How does rally car driving fit into all of this? Bodyverses — Alastair MacLennan: Nalam Nalam by Juana Robles is part of an ongoing series collaborating with performance artists across Ireland. This piece focuses on MacLennan, whose bodybased “actuations” explore personal, cultural, and social experience through performance, drawing, installation, and found materials Go Ye Afar by Frank Sweeney follows an Irish Nigerian taxi driver as he embarks on a magical realist odyssey from Dublin to Calabar. Through back-seat confessionals and a miraculous continent hopping car, we learn about Ireland’s dark past in the country and the corporate interests driving it all.
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🧭 Odiseele din programul „Grand Detour” sunt adevărate expediții de recunoaștere – de re-, cunoaștere, de cunoaștere din nou, de recunoaștere a ceea ce a fost înainte, de descoperire a cunoașterii care a fost îngropată, pierdută, ascunsă la vedere printre pânze ale minciunilor coloniale sau prinsă în năvodurile din apele timpului. Deturul e înțeles aici mai puțin ca o rătăcire și mai mult ca o pierdere voită a traseului din vedere, deopotrivă ca practică de reorganizare a spațiului, și ca actul de a întoarce obiectul, imaginea, împotriva sieși. 🗺️ Unite de acea languroasă plăcere a actului de a povesti, dar și de dorința critică de a vedea dincolo de poveste, de a descoase vraja – uneori amândouă în același timp – filmele din calup promit întoarcerea hărții cu susul în jos și se dezic de căile bătătorite, întrebând, cine, de fapt, a imaginat rutele. (Dora Leu) 🎟️ Ia-ți acum abonamentul BIEFF.16 de pe Eventbook. Link în bio! EN: 🧭 The Odysseys in our ”Grand Detour” are acts of reconnaissance in the truest, most fundamental of senses – of re- and connaissance, of re-knowing, of recognising, of digging up knowledge that has been buried, lost, hidden in plain sight by webs of colonial lies or caught in the nets of the seas of time. The "detour" is understood here less as a consequence of getting lost, and more so as an intentional abandonment of the path, both as a reorganisation of space and as the act of turning one object, one image, against itself. 🗺️ United by that charming pleasure of storytelling, but also by the critical desire to see beyond the story, to unravel the spell – sometimes both at the same time – the films in this program promise to turn the map upside down and inside out, breaking away from the beaten path by asking who, in fact, designed the routes. (Dora Leu) 🎟️ Link in bio to get your festival pass! Proiect cultural co-finanţat de @fondul_cultural_national.
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Some records don't need a marketing budget. Dublin's Frank B — aka Frank Sweeney, a Pogo resident at the old Twisted Pepper — quietly put "Chain of Fools" up as a free download on Resident Advisor in the summer of 2012. It spread on word of mouth alone and ended up on a lot of "tunes of the year" lists. He took the instantly recognisable "Chain of Fools" soul vocal and built a warm, rolling Chicago-house groove underneath it — straight out of the Fingers Inc. / Trax lineage. It got the official 12" treatment in 2013 on Major Problems (MPR000), backed with Lumigraph's 909 Assassination Remix and a Snow Day Dub. The vocal flip traces back through Risse's 1989 cover to the Aretha Franklin classic — so it's soul history rolling through a house record. This track smacks me with pangs of nostalgia, it was a great time. I was young dumb and out every weekend haha. The organ stabs on this one brings those amazing memories flooding back. What a tune ❤️ What tune brings you back?
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Common Ground has been working across the communities of Inchicore, Rialto and Bluebell since 1999. To mark & acknowledge our work for the last 25 years we began to organise our archive alongside the commission MARKING 25. Artists Veronica Dyas & Frank Sweeney were commissioned individually to work together on site with full access to the archive, including paper files & comprehensive audio visual documentation (about 200 hours). Veronica Dyas’ response is now complete: “I know you from the Archive, but you don’t know me What I see: A Reflection on the task of artistically responding to Common Ground’s Twenty-Six (almost 27) Year Archive” by Veronica Dyas MARKING 25 Commission for Common Ground, December 2024 to June 2026. Published by Common Ground 2026. ISBN: 978-0-9539024-9-1 There are three ways to engage with the Text & Audio Version via our linktree in our biog. 1 Single Manuscript is available to view in Common Ground’s Archive, by appt until we open up publicly. Special thanks to volunteer Jemima Valentine-Lake & intern Elisabeth Kyungae Park for their assistance in cataloguing the archive & to Irma Grothuis who has written an overview of the work & history of the organisation, which now accompanies the archive. Veronica Dyas is an artist from & living again in Dublin 8, Ireland, miraculously. She makes work to investigate the sociopolitical landscape, with particular focus on class, acknowledging the visceral reality of trauma/oppression while focused towards healing/equity. Having previously worked through theatre, she now works mostly with new text, fusing sociological tools and walking within her arts practice. She holds a B.A. (Hons.) in Drama & Theatre Studies with Sociology from Trinity College Dublin and an M.A. in Text & Performance Studies from RADA & King's College London. Facilitation, Action and LOVE remain crucial to her practice. Veronica was initially artist in residence with Common Ground for ‘X Marks the CORE’ with CORE Youth Service 2023-24, & continued working with CORE Youth Service & the wider community on FIELDwork (unfinished), & remained in The Lodge until December 2025 working on this MARKING 25 Commission.
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El día 5 de FILMADRID XII fue un preludio perfecto que marcó el comienzo de la recta final 🔥 La mañana comenzaba con las sesiones Espejo de Carlos Velandia, Frank Sweeney e Iris Sang, quienes presentarian por la noche sus películas a competición ante un atento Cine Doré. Entre medias tuvimos el placer de asistir a la apasionante masterclass de Milagros Mumenthaler y a la proyección de la última película del Foco. La noche cerraba en Casa de Campo con una mágica sesión de Vanguardias Live dedicada a los eclipses, de la mano de Martin Pawley. ¡Nos vemos esta tarde! 📸 @xelirose, @mashbarbarara y @ana_suela_martin
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Extending the conversations initiated in the Boiler House, the Turbine Hall examines the collective dimensions of labour: solidarity, resistance, and the pursuit of social change. Within this vast industrial chamber, artists draw connections between local histories of work and global movements for justice, highlighting how labouring communities have organised, protested, and advocated for recognition and rights. The works consider protest as an act of remembrance in itself, preserving stories of struggle and amplifying voices too often excluded from dominant histories. Framed by the monumental architecture and machinery of White Bay Power Station, the Turbine Hall reveals how places of work can also become sites of gathering, activism, and transformation, demonstrating the enduring relationship between labour, community, and collective action. Rememory artists featured in the Turbine Hall at @whitebaypowerstation include: Abdullah Al Saadi Angel Poyon Autumn Chacon Cannupa Hanska Luger Carmen Glynn-Braun Chen Chieh-jen Daisy Quezada Ureña Edgar Calel Emily Jacir Frank Sweeney Hui Ye John Prince Siddon Kiri Dalena Marianne Keating Natalie Davey Nikesha Breeze Peter Kennedy CAMP The 25th Biennale of Sydney, Rememory, closes Sunday 14 June.
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🔥 Después de ganar la Mención del Jurado Internacional en FILMADRID X, Frank Sweeney vuelve para competir con su más reciente trabajo, ‘Go Ye Afar’ 🚕 Escrita junto a Beulah Ezeugo, ‘Go Ye Afar’ sigue a un taxista nigeriano-irlandés en un viaje milagroso por las calles de Dublín y Calabar. Una fábula que mezcla realidad y fantasía en una revisión minuciosa, tan incisiva como imaginativa, de la historia colonial compartida entre los dos países, apropiándose de técnicas cinematográficas para reflexionar sobre cómo el medio ha reproducido las dinámicas histórico-políticas de su contexto. 👤 Frank Sweeney es un artista con una práctica basada en la investigación, que utiliza material de archivo (found material) para abordar cuestiones de memoria colectiva, experiencia e identidad a través del cine y el sonido. Su trabajo reciente incluye ‘Few Can See’ (ganador de la Tiger Shorts Competition en el Festival Internacional de Cine de Rotterdam), ‘People enjoy my company’ (Mejor Documental en el LUFF de Suiza, IMMA 2021-22, Transmediale Berlín, BFI Southbank LSFF 2022) y ‘Made Ground’ (en colaboración con Eva Richardson McCrea, Temple Bar Gallery 2021, adquirida para la Colección del Arts Council en 2021). 📅 ‘Go Ye Afar’ se presentará en Cine Doré el jueves 11 de junio. Entradas pronto a la venta.
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New bonus episode: my overview of Biennale of Sydney 2026 @biennalesydney across all five venues. I spent 10 hours visiting Lewers Penrith Regional Gallery, Chau Chak Wing Museum, Campbelltown Arts Centre, Art Gallery of New South Wales and White Bay Power Station. Some venues got installation absolutely right. Others... well, there are lessons to learn. If you are in Sydney: this might help you prioritize which venues to visit before June 14. If you’re international: this is a case study in what makes or breaks installation art and visitor experiences. What I cover: • Why one regional gallery outshone the main venues • When historic industrial spaces swallow the art • A sound installation no one experiences beyond 15 seconds Have you been to this year’s Biennale? What did you think? I would love to hear your take so feel free to DM me or leave a voice message at speakpipe.com/installationartpodcast #biennaleofsydney #artreview #sydneyart #artpodcast
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En 2024 el Jurado Oficial otorgó una mención especial a 'Few Can See', de Frank Sweeney 📺 En su paso por FILMADRID, el director habló sobrr sus modos de trabajo y el interés de su obra por explorar la memoria política y colectiva en tiempos de la posverdad. ▶️ Entrevista completa disponible en nuestro canal de YouTube. Link en bio.
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‘I Am Cuba’ (Soy Cuba) was both a landmark of radical political cinema and one of the most visually ravishing films ever made. A legendary hymn to revolution shimmers across the screen like a fever dream of rebellion.  The result of an extraordinarily ambitious collaboration between the Soviet and Cuban film industries, director Mikhail Kalatozov’s I Am Cuba unfolds in four explosive vignettes that capture Cuban life on the brink of transformation, as crushing economic exploitation and inequality give way to a working-class uprising.  Backed by Carlos Fariñas’s stirring score, the dazzling camera work by Sergei Urusevsky—an inspiration for generations of filmmakers to follow—gives flight to the movie’s message of liberation Tickets available now, link in bio 👆 https://www.eventbrite.ie/e/connolly-books-film-club-presents-i-am-cuba-by-mikhail-kalatozov-tickets-1987508240650
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👋🏼 25th Biennale Artist Profile 👀 Frank Sweeney Frank Sweeney is an artist with a research based practice, using found material to approach questions of collective memory, experience and identity through film and sound. This involves exploring the history of communications technologies through larger ideas such as historical materialism, cultural hegemony and imagined communities. In doing this, Sweeney’s work attempts to suggest points of departure from the social, political, and economic status quo. His work gives prominence to unofficial voices like folklore, social media and oral history interviews, allowing space for different subjectivities and contradictory perspectives; rejecting the idea that cinema can be truthful, conclusive or comprehensive. Learn more about the 25th Biennale of Sydney, Rememory, via the link in bio. Image credits: Photograph: Evanna Devine. Courtesy of the artist. Frank Sweeney, Go Ye Afar at Temple Bar Gallery, 2025, single channel video, 24 minutes. Photograph: Evanna Devine/Ros Kavanagh. Courtesy of the artist. Frank Sweeney, Few Can See at Eva International, Ireland's Biennial, 2023, single channel video, 42 minutes. Photograph: Gráinne Galvin. Courtesy of the artist. Frank Sweeney, People enjoy my company at the Irish Museum of Modern Art, 2021, single channel video, 17 minutes. Photograph: Frank Sweeney. Courtesy of the artist.
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🎆🎆🎆Across 2026 aemi will continue to scale our ambitions and part of this is an expansion of our board; in saying this we are thrilled to welcome filmmaker Frank Sweeney to aemi’s Board of Directors.🎆🎆🎆 🎬🎞️Our board is instrumental in guiding aemi to realise our strategic function to serve the needs of film artists and advocate for them, and their work so that it can reach as wide an audience as possible. 🎬🎞️ 💜We are immensely grateful to Frank; his thoughtful and creative insights have already greatly enhanced aemi’s operations. 💜
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