Installation view over the room "Jazz", a dark room with a big bed in the middle

Installation view, "Jazz" Henri Matisse, Jazz serigraphy © Succession H Matisse/Bildupphovsrätt 2024. Photo: Mattias Lindbäck/Moderna Museet

Film Programme

“Seven Rooms and a Garden” features a room where you can watch films inspired by Henri Matisse’s artist’s book “Jazz” from 1947. The film programme is in chapters that alternate throughout the exhibition period. Have a seat on the big bed and watch films by artists such as Charles Atlas, Tony Cokes, Every Ocean Hughes, Bouchra Khalili, Santiago Mostyn, Sun Ra, Cauleen Smith and David Wojnarowicz.

Currently on Display

Chapter 7: When you put your hands on my body

18 June – 11 August 2024

Our body is both an intimate and private space, something which belongs only to us, and a site that other people project on, interpret, and, in the worst instances, invade. In this chapter, this dichotomy is explored in relation to queer bodies, with the two films “When I Put My Hands on Your Body” and “Anthem”.

Curators: Asrin Haidari and Hendrik Folkerts

Two persons kissing
David Wojnarowicz & Marion Scemama, When I Put My Hands On Your Body, 1989 Super 8 color on digital video, with sound, 4:28 min. Film still.
Previous Chapters

The Politics of Space

30 September–16 November 2023
In the first chapter of the film programme we consider the questions of belonging and self-representation that play a key role in this exhibition – through the lens of artists who work or have worked in Stockholm. The artists examine public space: how we give it meaning, who it ”belongs” to, and how we can activate it differently.’

If the home is ”an inside space”, as Rashid Johnson puts it, that one gets to ”shape and define”, then public space is an exterior space that we all own, shape, and give

Sense and Sense (15 min, 2010)
by Every Ocean Hughes

Delay (4 min, 2014)
by Santiago Mostyn

If you could speak Swedish… (23 min, 2001)
by Esra Ersen

Paralyzed (3 min, 2003)
by Klara Lidén

Space is the place

14 November–17 December 2023
In this chapter, we travel to places far and near, through the legacy of jazz legends Sun Ra (1914−1993) and Alice Coltrane (1937−2007). First, we land in Chicago, where artist Cauleen Smith (b. 1967) filmed “Space is the Place (A March for Sun Ra)”. This project draws on the work of the groundbreaking composer Sun Ra, who channeled African-American history, science-fiction, and poetry towards a new vision of the future. He was a key figure in Afrofuturism, in which the histories of slavery and oppression of black people is evoked through fantasy and science-fiction.

Smith captures the spontaneous performance of the Rich South High School marching band playing Sun Ra’s composition Space is the Place. Undeterred by the pouring rain and the evident confusion of onlookers, the young musicians display great enthusiasm playing, singing, and dancing to Sun Ra’s still-powerful drum beat.

We resume our journey with Cauleen Smith: a pilgrimage to utopian spaces across the United States, accompanied by a soundtrack of Alice Coltrane’s “One for the Father” (1978).

Space is the Place (A March for Sun Ra) (11 min, 2011)
by Cauleen Smith

Space is the Place (85 min, 1974)
by Sun Ra

Pilgrim (2017)
by Cauleen Smith

Tony Cokes

19 December 2023–28 January 2024
In this third chapter of the film program, we delve into the work of American artist and filmmaker Tony Cokes (b. 1956).

Cokes started creating video essays in the 1980s with a keen interest in our affective experience of colour and sound. He mixes found material, whether that be documentary footage, fragments from academic texts on black histories, or electronic and popular music.

In his work, Cokes subverts (mis)representations of racial identities, investigating the emergence of house music in Chicago within Afro-American communities in the late 1970s, and the role of music in shaping our shared understanding of cultural history.

Black Celebration: A Rebellion Against the Commodity
by Tony Cokes (17 min, 1988)

Mikrohaus, or the black atlantic?
by Tony Cokes (31 min, 2006–2008)

1!+: a dubstep primer
by Tony Cokes (37 min, 2001)

Lights – Camera – Play!

30 January–10 March 2024
In the spirit of dialogue and improvisation that marks this gallery, two films from the Moderna Museet’s collection here show how play comes into the relationship between artists – collective experiments that the camera appears to have caught in the moment. The two filmmakers share the use of the camera as an engaged participant rather than a neutral observer.

Video artist Charles Atlas (b. 1949) is a pioneer in dance and performance for the camera. In “From an Island Summer”, he follows choreographer Karole Armitage and her dancers during a couple of August days along the Coney Island boardwalk and the streets around Times Square.

Robert Breer’s (1926–2011) “Pat’s Birthday” depicts the celebration of poet Patty Mucha in the company of her husband, artist Claes Oldenburg, and a circle of their artist and stage friends. Oldenburg had been working with happenings in the early 1960s when he and Breer decided to make a film together. He orchestrated a series of whimsies for the birthday celebration at the couple’s countryside house, giving Breer free rein with the camera.

Curator: Lena Essling

From an Island Summer
by Charles Atlas (13 min, 1983–1984)

Pat’s Birthday
by Robert Breer (13 min, 1963)


12 March–7 April 2024

What if the bed becomes a space of shelter and refuge, containment and lockdown, speculation and shitfictions? Performer and curator Michelangelo Miccolis and artist and performance producer nick von kleist respond:

“Stuck in quarantine we, Michelangelo and myself, have kept ourselves occupied with a deluge of cinematic nostalgia. We found simply rewatching tedious, so we began watching movies with subtitles we had downloaded from other films and tv. One of our first experiments was watching “Lost in Translation” (2003) with subtitles from Ingmar Bergman’s “Persona” (1966). The moment Scarlet Johansson’s face came on screen with the subtitle: ‘Elisabet Vogler”– we immediately paused it and burst into laughter at the random synchronicity and absurdity in the new collage.

This began a daily growing archive with this and more subtitles from “Uncle Boonmee Who Can Recall His Past Lives” (2010), “The Devil Wears Prada” (2006), “Inland Empire” (2006), “Scenes from a Marriage” (1973), “Crimes of the Future” (2022), and many more. Even with this expanding incidental archive, we keep returning to Elisabet Vogler.

This process centers on seeing. Extracting and blending what we choose to remember and to archive, and how that frames what we can convey. This random fan fiction is really just that, a reimagining and record of our experience, while we tossed the title Elisabet Vogler between one another.”


by Michelangelo Miccolis and nick von kleist (Random and continous, 2020-today)

Bouchra Khalili – Twenty-Two Hours

23 April–16 June 2024

A key figure in Bouchra Khalili’s film installation “Twenty-Two Hours” is Jean Genet, the French writer and political activist, who came to the United States between March and May 1970. He was there at the invitation of the Black Panther Party, a Marxist and Black power organization founded in 1966.

In Khalili’s “Twenty-Two Hours”, Quiana and Vanessa, two young African-American women from Cambridge (USA), examine Genet’s visit to New Haven. As much storytellers as film editors, the young women combine fragments of images, sounds, stories, and film footage, to tell the story of Genet’s commitment to the BPP. Simultaneously, Doug Miranda, a former prominent member of the BPP who was involved in organizing Genet’s tour on the East Coast, narrates his meetings with Genet and his own dedication to the Party.

“Twenty-Two Hours” asks the question “Who is the witness?” Is it Genet who stated that he came to the U.S. to bear witness to the repression suffered by the Party? Is it Doug Miranda bearing witness to the struggle for liberation to which he dedicated himself? Or is it Quiana and Vanessa who commit to calling the ghosts of emancipatory history?

Twenty-Two Hours

by Bouchra Khalili (43 min, 2018)

film still, children in marching band uniforms and musical instruments
Cauleen Smith, Space is the Place (A March for Sun Ra), 2011 Film still © Cauleen Smith 2024
A person wearing a headpiece in silver looks towards the camera
Sun Ra, Space is the Place, 1974 Film Still, Courtesy Rapid Eye Movies, Cologne 2024
Film still
Bouchra Khalili, Twenty-Two Hours, 2018 Film still. Courtesy of the artist and mor charpentier © Bouchra Khalili
diapositive of landscape
Cauleen Smith, Pilgrim, 2017 Film Still © Cauleen Smith 2024

More about this exhibition