Page - 82 - in JRFM - Journal Religion Film Media, Volume 03/02

82 | Isabella Guanzini www.jrfm.eu 2017, 3/2, 79–84 Formen, Raum und Zeit), the author explores the development of the linguistic and visual turn in the field of drawing in close dialogue with the most relevant phenomenological and semiotic perspectives (of Peirce, derrida, deleuze, La- can and others). Drawings demand attention be given to the effectiveness of the marks and generate reflection on the psychological and phenomenological mechanisms of perception. Leisch-Kiesl therefore emphasizes the time quality of drawing, together with its fragmentary and incomplete nature: “if paintings present Beings, the drawn line presents Becoming” (N. Bryson). the intangible and phantasmic materiality of the conceptual space of drawing with the un- certainty of its edges communicates a “vague sense of lost completeness” (a. Newman). Unlike the unified space of paintings, the white page of a drawing disperses the substance of the depicted object yet accentuates its potentiality. the use of the pencil (but also of oil paint) on the paper is a way to inhabit a space of becoming and uncertainty that introduces the experience of time and evokes imagination and an attitude of listening. Leisch-Kiesl examines the visionary minimalism of Khedoori’s works in order to develop a new theorem that is capable of grasping the particular feature of the phenomenon of drawing as not only space to generate meaning, but also “direct inscriptions of the world” (Zeichnung als direkte Markierung der Welt, 78). Lines and marks are thus interpreted as “acts of thought” (109) able to inaugurate new constellations of meaning and perception. the author speaks of “ZeichenSetzung” to emphasize the special capacity of the drawing to open a space on the paper, that is to create a space that did not exist before – as we have seen with Marcel duchamp. Within this perspective Leisch-Kiesl refers to the consideration of drawing by french philosopher alain Badiou, who has commented on the disjunctive and fragile character of pure drawing and the intensity of its weakness. drawing is able to institute a new world without the strength of images and the force of colors that characterize painting, “but by the minimalism of some marks and lines, very close to the inexistence of any place”. the relationship between surface and gesture is dialectical as well: in one sense, the paper exists, as a material support, as a closed totality; and the marks, or the lines, do not exist by themselves: they have to compose something inside the paper. But in another and more crucial sense, the paper as a background does not exist, because it is created as such, as an open surface, by the marks. it is that sort of movable reciprocity between existence and inexistence which consti- tutes the very essence of drawing.” (a. Badiou)the gesture of drawing opens up a new imaginative and theoretical landscape that challenges the viewer to experience new rational and imaginative landscapes.With its ephemeral yet potential quality, a drawing can evoke notions, ideas, images, emotions, associations and thoughts about reality. translating in a certain way Paul ricoeur’s famous idea “le symbole