Abstract

Any given portrait of la Deleuziana is a negative portrait entangled in the paradox of appearing when disappearing, under the banner of The Unknown Masterpiece: the painter Frenhofer attempts to give a pictorial consistence to a woman who flees in the ungraspable. Frenhofer found the impossible point, that which subtracts the representa tive expression. By making Alice one of the possible instances of la Deleuziana, in all her compossible becomings, we stumble across one of the main conceptual batteries of Deleuze: the distinction between Chonos and Aion, between the actualised time of history and the suspended time of virtualities.