In 1999, the French philosopher and art historian Georges Didi-Huberman questioned the techniques and the modernity of the impression and concluded in the overture with the result: "In vain does the imprint show us the contact from which it emerged - in the end this touch almost becomes inevitably interpreted as separation, as loss, as absence. "1 Linda Nadji's work repeatedly points to this realization. It questions not only the now and here, but also the before and where. It changes the viewing habits, turns the outside inwards or connects the possible with the impossible. Their suitcases, bags and bags of concrete testify to this. Individually and in the group, they stand as a stone installation in space as an impression and proof that a process has taken place. The artist deliberately chose the material concrete. It uses the building material used to build houses, a mobile object, a suitcase or a bag. Thus, the suitcase turned to stone symbolizes the burden of mobility and now stands for standstill or a conscious pause. In the equality of the optical appearance, the (in) knowledge about the difference to the original thing joins. We see the dimension and can feel the indentations and closures of the object, yet we know nothing of the origin. What color was the object? Who owned it? Who is traveling with it? Despite their formal beauty, these are questions that the artist, born in Persia in 1972, subversively thinks about in her work. These are questions that are also related to her biography and in which she repeatedly tries to get to the bottom of her installations, drawings and sculptures , Thus, the suitcase made of concrete becomes a synonym of a journey to the abandoned home, into which a return due to political circumstances has become impossible. She stayed with her family, who was visiting Germany, and left everything she knew. The concrete case and the concrete bag become symbols of separation and loss. Cast in concrete, Nadji shows us a painful absence and connects the past with today.
Her installation "Rampe" or her final installation "Zwischenräume" at the Kunstakademie Düsseldorf in 2011 with the work "Durchgangs" are examples of how Nadji changes viewing habits, gets to the bottom of things and the well-worn pattern without negating them. Like the art of American Minimal Art, Nadji conceives the space as a stage in which her objects present themselves and interact with each other. The space changed by the artist through architectural intervention shows itself in a new structure. Well-known, like the space of her final presentation at the Düsseldorf Art Academy, receives a new unusual, almost futuristic appearance through Nadji's installations. It has its special charm to meet Nadji's sculptures in the Kunststation St. Peter, whose Romanesque rooms become the backdrop to their staging.