Located within the Bâtiment d’art contemporain (BAC), The Centre d’Art Contemporain (CAC) is part of a cultural complex that includes the Musée d’art moderne et contemporain (Mamco) and the Centre de la Photographie. As a dynamic hub for contemporary art, CAC hosts exhibitions, discussions, and research, promoting experimentation across various art disciplines. Its programming also includes unique events, such as screenings at Cinema Dynamo and the organization of the Biennale de l’Image en Mouvement.
Artist Josèfa Ntjam presents A Constellation of Blackness, a hypnotic 33-minute sound-performance that weaves spoken word and instrumental improvisation. Situated within the Anti-Nymphs program, the piece reimagines Greco‑Roman myth through feminist and Afrofuturist lenses, collaging sampled fragments of twentieth-century Black voices. Ntjam invokes African mythology, ancestral rites, religious symbolism and science fiction to explore Blackness, darkness, antimatter and the sense of cosmic kinship, creating a dense, ritualised atmosphere that is both lyrical and confrontational.
Gathering short works by Le Nemesiache, Raffaela Naldi Rossano, Jumana Emil Abboud and Katia Kameli, the Anti-Nymphs programme stages feminist rereadings of Greco‑Roman myths across the Mediterranean. The films foreground the aquatic—shorelines, currents and submerged histories—using textured, topographical explorations and lyrical montage to update mythological figures with political resonance. Sparse narration, tactile frames and layered soundscapes trace alternative geographies and collective memory, inviting a contemplative encounter with nature, gendered myth and the sea’s shifting allegories.
Doralice Fabiano is a Hellenist specializing in ancient Greek religion; she holds a PhD in ancient anthropology (Siena) and has taught at universities in Switzerland and Italy. Her research focuses on water deities, notably nymphs and river gods.
This lecture examines feminist rereadings of Greco‑Roman nymphs in contemporary art, investigating their roles in territory, marriage and the erotic sphere. Fabiano explores narrative and cultual ambivalence, the phenomenon of nympholepsy, and how ancient motifs are actualized today to interrogate nature, political belonging and gendered agency.
In French.
Constanze Ruhm’s essay film Gli appunti di Anna Azzori unfolds as a layered, investigative meditation on a life captured on film. Working from the earlier Anna by Alberto Grifi and Massimo Sarchielli (Berlinale Forum 1975), Ruhm assembles clusters of archival material and reflection to trace Anna Azzori’s precarious existence without resolving it. The film probes the place of women, memory and representation, deconstructing patriarchal narratives through a fragmentary, tactile cinematic language that is intimate, questioning and quietly insistent.
Curated as a cycle of five short works by Pauline Curnier Jardin, Maria Klonaris and Katherina Thomadaki, Laure Prouvost, Mathilde Rosier and Josèfa Ntjam, Anti-Nymphs stages feminist rereadings of Greco‑Roman myths. These video essays and experimental shorts foreground body metamorphosis—gender, age and vegetal transformations—centering non‑conforming female bodies that unsettle dominant imaginaries. Textural imagery, fragmentary rhythms and tactile close-ups create a liminal, often uncanny atmosphere. The program proposes a subversive mythography that remaps ancient figures through contemporary, bodily poetics.
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