Note from Museum of Modern Art in Warsaw: We invite you to screenings of films by Malga Kubiak and Barbara Hammer, whose work speaks with a voice that is both personal and deeply collective. Their films address unresolved issues of our time: the visibility of queer people and female desire, questions of race and belonging, and gendered traumas of war and systemic violence.

‘Peacemaker’ has been previously shown at the Museum of Modern Art in New York and will have its Swedish premiere at Bio Aspen.

The film traces the last few months of Josep Rihl Kir, the chief of the Osijek Police Department who tried his hardest to prevent the Croatian-Serbian War. Told through a few witness statements and archival material, the film shines a light on Kir’s life leading up to his still unsolved assassination.

PROGRAMME:

‘Ships Still Don’t Come Ashore’, 2017 2:45 min
In 1955, Mihovil Pansini, a legend of Croatian experimental cinema and founder of the Genre Film Festival (GEFF), made ‘Ships Don’t Come Ashore’, a film about the inability to escape from both an island and oneself. Sixty-two years later, ships still don’t come ashore, proven in this 16mm tribute film made by his grand-nephew.

‘Kino otok (Islands of Forgotten Cinemas)’, 2016, 35 min
This poetic documentary explores the lost film culture of small villages on Croation islands during the second half of the last century. Six historical witnesses recount their favorite films and events related to their viewing and screening experiences, which left important marks on their lives.

‘Greetings from the Secretariat’, 2025, 24 min
On an island paradise, not everything is as perfect as it seems. Crafted from photographs discovered in a deserted police station, this crime film peers behind the warm sunshine and colourful attractions of one of the most popular tourist destinations in Croatia. Spanning decades and political systems, the crime scene photographs acquire their own syntax, telling a story of a society and its pathologies.

Running time: 61 min (+ Introduction and Q&A with filmmaker Ivan Ramljak)

Date and time: Wednesday, April 1st, kl 18.00–20.00
Place: Malongen (Nytorget 15, Stockholm)

No admission fee nor RSVP required

From the organisers:

A pioneer of personal cinema and feminist film, Gunvor Nelson produced innovative work combining painting, collage, and sound experimentation with humor, resistance, intimacy, and tactile sensation. Her early films frequently reflect the qualities, thoughts, and voices of women in the 1960s and 1970s; homes, daughters, and mothers are particularly important themes. Moving from painting to still photography and from analog film to digital media, her work delves deeper into the texture of life and the past, uncovering an intuitive yet delicate sensibility that retreats from the real world into another, imaginatively reconstructed one. During her time teaching in San Francisco, Nelson inspired countless experimental filmmakers and artists. After returning to Sweden, she continued to explore new audiovisual languages, leaving us with a rich legacy.

The program trilogy is co-presented by LA Filmforum, Rotations, the Academy Museum, and UCLA Film & Television Archive on March 22, 27, and 28. The screenings begin with introductions by film scholar Steve Anker and a prerecorded video with filmmaker Lynne Sachs.

This program covers a range of Nelson’s works, from her debut film, the feminist classic ‘Schmeerguntz’ (1966) co-directed with Dorothy Wiley, to the late abstract video art ‘Snowdrift’ (aka Snowstorm, 2001), with several other essential and influential masterpieces created during the years in between.

Programmed and notes by Cherlyn Hsing-Hsin Liu and Steve Anker. With video introduction from filmmaker Lynne Sachs.

Program 1: Red Shift
Total run time 80 min, all screenings in 16mm film

‘Red Shift’ (1984), 16mm, B&W, sound, 50 min.
‘Frame Line’ (1983), 16 mm, B&W, sound, 22 min.
‘Time Being’ (1991), 16mm, B&W, silent, 8 min.

Program 2: Moons Pool
Total run time 74 min.

‘Schmeerguntz’ (1966), 16mm, B&W, sound, 15 min.
‘My Name is Oona’ (1969), 16mm, B&W, English, Swedish, 10 min.
‘Fog Pumas’ (1967), 16mm, B&W/Color, English, 25 min.
‘Moons Pool’ (1973), digital, color, English, 15 min.
‘Snowdrift (aka Snowstorm) (2001), digital, color, sound, 9 min.

Program 3: Light Years Expanding
Total run time 81 min.

‘Light Years Expanding’ (1988), 16mm, color, sound, 25 min.
‘Old Digs’ (1993), 16mm, color, sound, 20 min.
‘Field Study #2’ (1988), 16mm, color, sound, 8 min.
‘Natural Features’ (1990), 16mm, color, sound, 28 min.

From the organisers:

In connection with the current Platform exhibition ‘Rest and Routine – Duet for Sanatorium and Modern Hospital,’ Nikolaj Kunsthal invites you to a screening of ‘Caring’ (13 min.) and a viewing of the work ‘I don’t understand the words you use”'(3D animation, 11 min.) This will be followed by a conversation about the healing properties of architecture.

The film ‘Caring’ was created by Stockholm-based artist Emelie Carlén and deals with issues of care in architecture, based on Alvar Aalto’s Paimio Sanatorium in Finland. The work ‘I don’t understand the words you use’ was created by Cecilie Penney, who is also the artist behind the current exhibition ‘Rest and Routine – Duet for Sanatorium and Modern Hospital’ at Platform. The work shows an animated figure attempting to navigate the challenges of the healthcare system.

The conversation about the health-promoting properties of architecture takes place between architect, designer, and author Christoffer Harlang and artist and composer Cecilie Penney, among others. The conversation takes place at Platform and is moderated by the curator behind the exhibition, Lawrence Ebelle.

About the programme:

The screening is organized in relation to the project ‘Att väcka föremålen till liv och utmana museernas koloniala historier’ (Bringing objects to life and challenging museums’ colonial histories).

Programme:

‘Schibah, Nils, Katrine’, 2025, 16mm to HD-video, 2 min.
‘The Secret of the Desert’, Hamza, 2022, 16mm to HD-video, 3 min.
‘Vom Nil’, 2025, 2K video, stereo sound, 14:20 min.

About the programme:

The films in this session explore the bond between mothers and daughters as a choreography of gestures and gazes, where closeness and distance —physical, emotional or generational— become the stuff of cinema. In all of them, the filmmakers film their mothers at different moments in their lives, evoking the passing of time, the changing roles, the caregiving, traces of family stories and of everything that has not been said.

With an intimate yet self-reflective gaze, this relationship is set in different scenes that act as spaces of memory, affection or mourning. In Aparición, pétalo y lengua, Valentina Alvarado recounts, in fragmentary manner, a dream of her mother, Mila. The film performance, on a double screen and with live sound, is constructed of memories, colours, gestures and words that describe a bond marked by physical distance and by a landscape that the artist inhabits in diaspora. The sensuous images also run through Kopfüber im Geäst, filmed as a personal diary by Ute Aurand, who portrays the years leading up to the death of her parents. The passing of time is apparent in everyday scenes, family photographs, shared spaces and objects —a room, a cupboard, flowers in the garden— in an exercise in acceptance and memory. Taking My Skin, by Sarah Pucill, proposes a visual and affective dialogue between the filmmaker and her mother, where filming becomes a symbolic process of separation and reconciliation, in which time seems to stop. Meanwhile, in Time Being Gunvor Nelson faces the difficult moment of saying goodbye to a mother. Finally, the act of filming also becomes a form of mourning and invocation in Mourning Garden Blackbird, in which Anna Thew films her mother’s garden after the latter’s death. In all of them, the complexity of this bond is revealed through cinema, as a means to come together.

Aparición, pétalo y lengua, Valentina Alvarado Matos, 2024, double 16mm screening, 20 min, live performance; Kopfüber im Geäst, Ute Aurand, 2009, 16 mm, 15 min; Taking My Skin, Sarah Pucill, 2006, 35 min; Time Being, Gunvor Nelson, 1991, 16 mm converted to digital, 6 min; Mourning Garden Blackbird, Anna Thew, 1984, 16 mm, 8 min.

Aparición, pétalo y lengua, courtesy Valentina Alvarado Matos. Kopfüber im Geäst, from Arsenal. Taking My Skin, from Lux. Time Being, from Filmform. Mourning Garden Blackbird, from Lightcone.

Exhibition information from M.1 Arthur Boksamo-Stiftung:

To mark the conclusion of the exhibition project Art as Ecological Practice, we would like to invite you to our Winter Assembly, taking place from 13–15 February 2026.

The Winter Assembly refers to the cold season as a phase of scarcity and rest – a space for experimentation. At the same time, it marks the anticipation of renewal, a cycle oriented towards the future. We use the winter months to pause before the new ecological cycle begins, as a moment of reflection in which assumptions and practices can be examined and future behaviour and action reoriented.

Programme

Friday, 13 February 2026


5:00 pm: Exhibition opening & guided tour
Including a welcome address by Dr Philipp Salamon-Menger, Abteilungsleiter Kultur im Ministerium für Allgemeine und Berufliche Bildung, Wissenschaft, Forschung und Kultur des Landes Schleswig-Holstein, words of welcome from Dr Ulrike Boskamp and Katja Schroeder, and an introduction to the exhibition by Dr Ronald Kolb

6:00 pm: Screening of the film Cultivating Abundance by Åsa Sonjasdotter 


There will be soup afterwards.

This screening is a part of the series ‘De Vijf Ontmoetingen’ (The Five Encounters), where Pop Up Cinema hosts layered gatherings for art, experience, and conversation to come together.

More information from the organisers:

Curated together by Rotations’ Corina Copp, JOAN’s Suzy Halajian, and artist Alexis Kyle Mitchell, this two-night screening and reading program commemorates the final days of Mitchell’s exhibition The Goal of Our Health, on view at JOAN through January 31. Events for a Moving Body brings together films and readings that think with the body as a site of knowledge, relation, and struggle. Spanning archival and contemporary experimental, ethnographic, and transnational queer, feminist and artist cinema practices, these works reflect on athleticism, performance, hysteria, spirit, and human–animal ecologies; extending Mitchell’s inquiry into how embodied knowledge resists the limits imposed on bodies by medical, economic, social, and ideological structures.

Mitchell’s JOAN exhibition marks the Los Angeles premiere of her 2024 feature-length film The Treasury of Human Inheritance, which explores the idea of inheritance as a genetic, political, and spiritual set of relations; and includes newly commissioned works that unearth a history and aesthetics of fascist and eugenicist logics and practices. In dialogue, Events for a Moving Body constellates transtemporal moving images that bring into view the body in its sensorial labors—Jacqui Duckworth, Julie Dash, Peter Weiss, Margaret Raspé—with anachronistic works by artists Onyeka Igwe, Yelena Gluzman, Sarah Ballard, and Mary Helena Clark, among others, that immerse us newly.

How have bodies historically navigated constraint through collectivity, ritual, repetition, and shared forms of attention? Invited poets and scholars Danielle Carr, Amelia Bande, and others will read in and around the film-work, together proposing the body as something not merely acted upon. Instead, histories are embodied, memory flows multidirectionally, and new forms emerge for health, care, and desire outside capitalist and imperialist frameworks.

Curatorial text:
‘from where the grain itself can speak’ features artwork, historical and contemporary, that gives voice to the plant, human, and interspecies relationships that persist through and despite agricultural methods. The work of local and international artists featured here personalize the complex histories, politics, and ideologies embedded in industrial wheat farming. Their stories demonstrate the failure of monocultures of the mind to eradicate alternatives they make more difficult to thrive, as if pesticide-resistant weeds or the relentless reproduction of gophers in a field.

We live in a moment of increased food insecurity alongside an uptick in authoritarianism and resistance to acting on a climate emergency that threatens international and industrialized food systems. These artworks invite us to listen to the stories the grain itself tells us about possible alternative futures.