And yet it moves* – On liminal drawing issues


*And yet it moves (Eppur si muove) is an expression attributed to the Italian mathematician, physicist and philosopher Galileo (Galileo Galilei, 1564-1642), who sought to explain that planet Earth is not static but is moving and orbiting the Sun (This popular expression first appears in the context of architectural drawing research in 2019. It is brought up by Federica Goffi in the context of the Frascari Symposium IV, which she co-organized with Mary Vaughan Johnson on The Secret Lives of Architectural Drawings and Models, as part of the publication And yet it moves: ethics, power and politics in the stories of collecting, archiving and displaying of drawings and models, Architecture and Culture, forthcoming Routledge Journal).


In the last few decades, drawing has been a particularly important subject in the work of numerous architects and theorists of architecture. Today, drawing is developing in parallel with the intense rethinking of the discipline and its role in contemporary society. On the one hand, the Renaissance of the drawing is celebrated, and on the other, its death is noted. Starting from Alberti, through Evans and Frascari, to many contemporary authors, the thesis that drawing is the basic architectural craft is repeatedly underlined, confirmed and re-examined. The continual development of the drawing as a medium aims to affirm drawing as a response, formulation and expression of a spatial statement, as the resolution of problems and processes.


 Balet de neuf Danseurs (1700) by Feuillet, Recueil de Dances


How to trigger the drawing?


The conception of liminal drawing is anchored in the philosophy of (pre)liminal drawing (Benjamin), its formulations and investigations are part of a broader methodological approach to tactical work in drawing (Bnin-Bninski).


The liminal drawing activates a critical positioning of the in-betweens – among issues, spaces and media. This drawing is set in motion on various scales of liminal relations: within the materiality of the drawing; in relation to other media (film, photography, spatial model/installation); or in relation to other drawings, text or to the built object. The matter of motion and contingency of liminal drawing is not in search of an answer, rather, it provokes a precise formulation of questions regarding specific problems and/or spatial phenomena.


How to trigger with the drawing?


The theme of this curatorial season is to investigate triggered, dynamic states within a drawing, to experiment with the drawing that does not seek to resolve, but to complicate, the liminal state of indeterminacy, instability, and uncertainty.


How to induce the drawing from a spatial statement toward a question and critical reflection on a specific problem or phenomenon? In what way can movement, within drawing, initiate a profound rethinking of the medium, its materiality, dimensionality, technique? Can liminal drawing motion result in an activist drawing and can it provide a context for discussion on spatial issues, between the author and the observer?


/excerpt from curator’s text/



Anđelka Bnin-Bninski, PhD, is an architect and interdisciplinary researcher. She is specialised in theory of arts and media (University of Arts in Belgrade, 2009) and philosophy of architecture (École Nationale Supérieure d’Architecture de Paris-La Villette, 2014). She teaches studio design and methodology courses at the University of Belgrade – Faculty of Architecture. Her recently defended PhD thesis “The role of the architectural drawing in the dynamics of living space partition” is in the  fields of philosophy and theory of architectural drawing, and is based on drawing practice in architectural analysis. Her current investigations are focused on strategies and tactics of architectural drawing research.

        Kolektiv arhitekata, Drinčićeva 20, Beograd, Srbija

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