Monika Leisch-Kiesl
ZeichenSetzung I BildWahrnehmung. Toba Khedoori: Gezeichnete Malerei (German Edition)
How do images gain relevance? On the basis of the large-format drawings by artist Toba Khedoori Monika Leisch-Kiesl's study situates itself between semiotic and phenomenological theorems.
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How do images gain relevance? On the basis of the large-format drawings by artist Toba Khedoori, Monika Leisch-Kiesl’s study situates itself between semiotic and phenomenological theorems. The author investigates the specific qualities of drawing in an examination of the 1990s and 2000s and asks: How does an image become a sign? This permits, or even evokes a contextualization with various social and cultural correlations. The second question: How does a sign become an image? implies a specific form of attention. Jacques Derrida’s concept of brisure– “hinge,” as he introduced it in De la grammatologie–leads to a conversation between the images of Khedoori and the texts of Derrida and opens up an area of reflection “in the blank space of the inter-text” / “dans le blanc de l’entre-texte.”
Monika Leisch-Kiesl, art historian and philosopher, Professor of Art History and Aesthetics in Linz, Visiting Scholar in Basel.
Research focuses: image and text, drawing, art theory and aesthetics, gender studies, art in inter- and transcultural contexts.
Publications: Verbergen und Entdecken. Arnulf Rainer im Diskurs von Moderne und Postmoderne [“Masking and Unmasking. Arnulf Rainer and the Discourse of Modernity and Postmodernity”], (1996); nexus. Künstlerische Interventionen im Stadtraum [“nexus. Artistic Interventions in the Urban Space”], ed. together with J. Schwanberg (1999); Was spricht das Bild? Gegenwartskunst und Wissenschaft im Dialog [“How do Images Speak? Contemporary Art and Sciences in Dialog”], ed. together with J. Schwanberg(2011); Die Zukunft gehört den Phantomen. Kunst und Politik nach Derrida [”The Future Belongs to the Phantoms. Art and Politics after Derrida”], ed. together with A.R. Boelderl (2018).
