Part I

16.10.18 – 27.10.18

Hôtel Sully;




a collection of botanical drawings of the pharmaceutical faculty of the University of Montpellier

and ancient books of the patrimonial collections of the library of the University of Montpellier.


Part II

8.11.18 – 1.2.19

Maison de Heidelberg, Montpellier



noun Biology

Orientation of a plant or other organism in response to light, either towards the source of light (positive phototropism) or away from it (negative phototropism).
Plants adapt to their habitat. As they move towards light, they transform themselves and their environment. «Phototropia» invests in the potential for growth, resilience and memory of plants.The exhibition takes place in two parts. The first part takes place at the Hôtel Sully. Botanical plates and ancient books from the University’s collections, are presented in regard to nine works of contempo- rary German and Austrian artists which question the relationship between nature, culture and the power of change through plants. These works are shown during the first chapter of the show in display cases. For the second part of «Phototropia», the works  change in form and invest the exhibition spaces of the Maison de Heidelberg in Montpellier.

Headless #3 (Echo), imprinted fabric, acrylic on plexi, text,  performance, scent, variable sizes, ongoing, 2018

Catching the Light

14.4.18 – 7.7.18

Kai 10 / Arthena Foundation


Curator: Ludwig Seyfarth

next event:

Tuesday, May 15, 2018, 7 pm

Artist talk with Nadia Lichtig, Mischa Kuball and Ludwig Seyfarth.

Nadia Lichtig, Pictures of Nothing, gold leaf on paper / oil and gold leaf on canvas / sound / text on A3 stacks photocredit : Achim Kukulies
Nadia Lichtig’s paintings, installations, sound pieces and lyrics are based on equally subtle and complex processes of translation, resulting in sensually experienceable resonance chambers which can be read on multiple interpretative levels. The artist extracts words out of found footage from different text sources, from letters for example, and recomposes them to sound collages. Besides delicately nuanced colour gradients, her paintings feature attentively composed isolated lines and layers of lines, all based on a kind of graphical notation. It is an act of transposing text and sound — which she occasionally performs live—into a visual structure.  What we are witnessing is an intuitive painterly tracing of acoustic and tactile qualities. Beyond the mere direct rendering of things and materials, this is here more about an evocation of aggregation states, such as liquid, airy etc. One’s art-historical memory bank of images may have William Turner’s light-flooded pictorial spaces or those of the late Monet appearing before one’s inner eye, in which all solid objects seem dissolved, so that they are almost "pictures of nothing". (Ludwig Seyfarth)
Nadia Lichtig, Ghosttrap, Silvergelatin on paper / luminescent print, 43 x 53 cm / 50 x 70 cm, ongoing, 2018
photocredit : Marc Doradzillo
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Nadia Lichtig, Ghosttrap, three part work: silkscreen print, photography, lecture), ongoing, 2018,
performative lecture (recordplayer, record, headphones, microphone, projection), Kammertheater, Freiburg, 13’20 min

In her series Ghosttrap Nadia Lichtig deals with emotions of fear. By means of image, text and sound she explores traumatic experiences that are usually suppressed, but enter consciousness in distorted representations and unreliable narratives. This three part work is based on interviews with anonymous individuals, each of whom recounts his or her memory of a traumatic experience. Lichtig translates their spoken words into photographs and texts, presenting these media in different spaces and at different times. The first two parts consist of the photographs and texts displayed in the exhibition space. The third part consists of a performance, in which Nadia Lichtig plays a recording of the original interviews on an old pick-up. She then dons a pair of headphones that are plugged into the record player, and re-enacts the original interviews repeating the words she hears. (Heidi Brunnschweiler)


16.2.18 – 25.3.18

Galerie für Gegenwartskunst, E-werk, Freiburg

Nadia Lichtig | Jaki Irvine |Theo Eshetu | Elisabeth Bereznicki
Curated by

Heidi Brunnschweiler


exhibition views PDF



text booklet

Heidi Brunnschweiler


lecture Rahma Khazam + artist talk:




Unfinished Sympathy

7.11.17 – 2.2.18

Heidelberg-Haus, Montpellier

Cécile Dupaquier (Berlin)
Hansjoerg Dobliar (Munich)
Thomas Fougeirol (Paris/New York)
Nadira Husain (Berlin)
Shila Khatami (Berlin)
Nadia Lichtig (Montpellier)
Daniel Lergon (Berlin)
Alexander Lieck (Berlin)
Emmanuel Van der Meulen (Paris)

Bernard Piffaretti (Paris)
Renaud Regnery (Berlin)
Samuel Richardot (Paris)
Giovanna Sarti (Berlin)
Florian Schmidt (Berlin)
Katharina Schmidt (Marseille)
Stefanie von Schroeter (Berlin)
Benjamin Swaim (Paris)

Edition DE

Edition FR



Nadia Lichtig, Headless #7a, ink on imprinted canvas, 41 x 32 cm, 2017
The choice of works for this exhibition is related to my travels between France and Germany. It is all works that I discovered in the studios of the artists during my journeys to Berlin, Munich, Paris and Marseille, and that attracted me, as they interact with questions that I’m interested in: what relationship does time have with painting, both during its manufacture and during its contemplation? To what extent painting can be considered performative? To what extent does painting, through a series of of performative or processual actions, reveal condensed time, perceptible in the blink of an eye? (Nadia Lichtig)

A scientific encounter:

on interobjectivity
18.4– 24.5.2017
Université de Montpellier, Faculté de Médecine, Montpellier
with Murray Ballard, Baccio Bandinelli, Daniel Brown, Keith Brown, Irene Brown, Jan Brueghel

de Velours, Annibale Carracci, Bettina Dittlmann, Elpida Hadzi-Vasileva, Nadia Lichtig, Kelly Richardson, Rosalind McLachlan, Richard Talbot, Giambattista Tiepolo, Wolfgang Weildeder,

curated bu Alistair Robinson.

Parfum d'Oubli


Hermetically sealed glass balls, fragrance, variable sizes, dried plant, imprired fabric, case


PDF (leaflet)


Nadia Lichtig, Parfum de l'Oubli, hermetically sealed glass, handblown, perfume, printed fabric, pressed flowers, wooden case, ongoing, 2016

This exhibition of artists from France, Germany, Canada, Macedonia, and the UK invites us to see the world as if from the point of view of other objects – animate and otherwise. It pairs new works by artists with historical objects from three collections: those in the Museé d’Anatomie; those in the art collections and publications of the Museé Atger; and those from the botanical and technological collections held by the University of Montpellier. Following the examples set by figures like philosopher Graham Harman and anthropologist of science Bruno Latour, the artists in this exhibition question how we relate to the wider world of objects. Despite the advances of modern science, we live in a world of what has been called ‘known unknowns’: we can only guess how many other species there are, for example. According to Graham Harman, our world is one of ‘unknown unknowns’, well beyond our understanding: “Real objects are incommensurable with our knowledge, untranslatable ... Objects can only be known indirectly.” For Bruno Latour, to even begin to know the world scientifically, we must think about objects as having an agency in the world, with each having its own ‘biography’ or ‘career’ working with other objects. We must begin to think in terms of “interobjectivity”: what happens between things. (On Interobjectivity, Allistair Robinson)


9.2.– 20.2.2017
Kunstverein am Rosa-Luxemburg-Platz, Berlin

Ghosttrap, ongoing, 2017

40 x 50 cm, lambda prints, framed / 50 x 70 cm, silkscreen prints on paper, unframed. Installation (timer, lights)


Each photography belongs to a story printed on paper with photoluminescent ink, to be read in the dark.



Nadia Lichtig, Ghosttrap, 12 photographic prints, framed, 43 x53 cm / 12 silkscreens with photoluminescent ink, ongoing, 2017
The German word „unheimlich“ is considered untranslatable; the rough English equivalent, „uncanny“, is itself difficult to define. According to Freud’s description, the uncanny „derives its terror not from something externally alien or unknown but – on the contrary – from something strangely familiar which defeats our efforts to separate ourselves from it“. It’s precisely this small line between reality and imagination that the German – French artist Nadia Lichtig walks in the most recent realization oft her ongoing project Ghosttrap. Starting in 2007 Lichtig collects recorded statements from diverse sources recounting episodes of fear and terror. These texts are transcribed into rhytmic prose and printed in luminescent ink that glows in the dark like a message

from the unconscious. A corresponding series of photographs including a range of recent shots taken in and around Berlin shows a collection of sites that may or may not relate directly to the stories told.While ostensibly using what cognitive psychology has explored, that in fact remembrance is to an extent unreliable one can hardly trust it, the installation in reality touches upon a type of memory that usually is completely repressed:

trauma and resulting memory gap. (Susanne Prinz)


Salon du Salon #10
25.8.– 30.10.2016, Marseille
with Vava Dudu, Vidya Gastaldon/Jean-Michel Wicker/Sidney Stucki, Nadia Lichtig, Jean-Marie Perdrix, Jérémie Setton, Wang Qi

Gossip as Testimony

10. -19. 12. 2015

Kunstverein L40, Berlin


Gossip as Testimony, 2015/17

600 x 21 x 29,7 cm (print, pencil and watercolor on paper), Laserprint edition 1 +1AP



Nadia Lichtig, Gossip as Testimony, 600 drawings (watercolor and print on paper, 21 x 29,7 cm), performance (voice, microphone, looper, speaker), 2015/17
In Gossip as Testimony Nadia Lichtig converses with authors from her growing archive of voices. The vocal performance – at once concert, lecture and dialog – loops, superimposes and combines a variety of feminist texts in a radical subjectiv way, relating in a non linear way traditional sources of knowledge to vernacular forms of expression. Drawings from the artist - in fact notations for the performance - are shown simultaneously. (Susanne Prinz)
Nadia Lichtig, Headless #3, wall paper, 4 x 6 m, ongoing, 2015


French Connection, Perspectives on Support/ Surface
29.4.– 15.6.2016
Kunstsaele, Berlin

with André-Pierre Arnal, Shahin Afrassiabi, Florian Baudrexel, Eva Berendes, Katinka Bock, Miriam Böhm, Julien Dartois, Daniel Dezeuze, Noël Dolla, Valérie Favre, Katharina Grosse, Assaf Gruber, Simon Hantaï, Nadia Lichtig, Patrick Saytour, Claude Viallat,
curated by Dr.Heike Fuhlbrügge.
Headless,  2013/17
Headless IV, 2015, digital print and silk screen on wallpaper, 4,60 x 6 m