Seite - 81 - in JRFM - Journal Religion Film Media, Band 03/02

Review: ZeichenSetzung | 81www.jrfm.eu 2017, 3/2, 79–84 synthetic wax, and place the viewer in a timeless and enigmatic space of both mediation and uncertainty. Fig.: Untitled (Rope 2), 2011 Oil on canvas, 94.3 x 59.4 cm Leisch-Kiesl stresses this ambivalence of Khedoori’s drawings in their immanent realization: the enigmatic and open character of drawing lies in the fragmentary gesture, that is in the proper act of tracing lines and marks, much more than in the final static composition. Drawings become marks generating a special com- municative situation between artist and viewer which challenges the power of seeing and shows the complexity of the subjective processes of perception. In this regard, Khedoori’s compositions seem to recall, in a certain way, the style of a biblical parable, in which immediately identifiable elements and situations – work in the fields, the baking of bread, family conflict – actually hide enigmatic marks and meanings which are able not only to render the familiar ambiguous, but also to provoke the established way of perceiving and believing. the author asks: “What do these icons of the world of objects narrate? A window, a door, a stab? They are simply recognizable in their lapidary representation – and then? they certainly do not lead to a real given situation, but they do not lead to a dream world as well” (125). Leisch-Kiesl uses the notion of “conceptual narra- tive” to interpret not only the quality of Khedoori’s works, but also the devel- opment of drawing from the 1990s, noting that the drawing “brings narratives into play, although it is still not clear what they are telling” (85). through anal- ysis of seven key terms (kunstgeschichtliche Situierung, Phänomen Zeichnung, Betrachten einer Zeichnung, marks/Zeichen, das Konzeptive – das Narrative, Denk-