Bio:

https://awarewomenartists.com/en/artiste/nadia-lichtig/

​​

Nadia Lichtig is a multidisciplinary artist. Based on the collection of voices, Lichtig's visual and sonic compositions are investing language and its insufficiencies – between fragment, diary, misappropriation and stuttering.

____

​​

My name is Nadia Lichtig (pause) I and grew up between several countries and languages (extended pause) I studied linguistics in Munich and Berlin (pause) and sculpture at Academy of Fine Arts in Paris at Jean Luc Vilmouth’s studio (extended pause) Subsequently (pause) I assisted Mike Kelley in Los Angeles (extended pause) and now live and work in the South of France (pause) where I teach at the MOCO in Montpellier (pause) an academy of Fine Arts (pause) attached to a museum (extended pause) and research amongst others at the University of Aix-Marseille (light clack of the tongue, extended pause)

 

As an artist (pause) I'm collecting and creating voices, that I use as material in order to compose  both visually (pause) and with sound (clack of the tongue, extended pause) I'm interested in the sound of voice (pause)  and I call voice (pause again) pronounced words (pause once more) as well as sound I find in my surroundings (pause again) such as animal sounds or sounds of machines (clack of the tongue, extended pause)  I'm interested in how these voices are built (pause) as well as in the impossibility of their exact translation (extended pause) I want my work to instore a form of referencelessness (extended pause) and resistence (pause) toward  categorization (extended pause)  Stemming from voices (extended pause) my compositions take the form of painting (pause)   or photography (pause) or song and performance (light clack of the tongue, extended pause) The series shift from one form to another (extended pause and light clack of the tongue) Their content lies in the ambivalences (pause) the loss or the gain (extended pause) the unexpected (pause) that appears during these processes of 'translation' (light clack of the tongue, extended pause) 

 

Rather than finality (extended pause again) my research is calling for questions such as (pause) How through successive shiftings (pause) 'empty language' (rising intonation of the voice, extended pause) And (pause) how (extended pause) the voids (pause) thus created (pause) build another language in turn (rising intonation of the voice, extended pause)

​​

​

Contact :

anne@anneplus.com

nadialichtig@gmail.com

​

​

​

​

​

​

​

​

​

​