Behind the Image, Beyond the Image
edited by
abstract
The volume includes papers presented at the III International Conference of PhD students of the Department of Philosophy and Cultural Heritage of Ca’ Foscari University of Venice and the State Institute for Art Studies of Moscow (Venice, 22-24 September 2021). The word ‘image’ derives from the Latin imago, a word that has many different meanings that go from ‘portrait’ to ‘ghost’, from ‘idea’ to ‘dream’, from ‘memory’ to ‘reflection’. We most commonly associate the word ‘image’ with a picture, but its etymology keeps reminding us of its infinite conceptual potential. In his famous book Behind the Image: The Art of Reading Paintings, Federico Zeri argues that there are infinite ways to observe the work of art as an image. But since the image is something that goes beyond its mere material and physical form and refers to the categories of perception and thought, the expression “beyond the image” encourages new formulations related to this polyvalent concept. The image, the imagination and the imaginable are the transversal categories that the papers collected in this volume aim to explore, inquiring the concept of image as a metaphor, a model, a method, a representation, a tool for a new understanding of reality.
Baroque • Robert Smithson • Monuments • Hudinilson Jr • Media • 刘永刚 • Toppled Monuments Archive • Narcissus • Entropy • European art • Soviet caricatures • Fifteenth century • Grand Tour • Time • Know thyself • Modest Musorgsky • Madonna del Fuoco • Soviet art theory • Diplomatic gift • Ecclesiology • Participation • Sam Durant • Sketch • Site-specific • Response • Pseudomorphosis • Hagiography • Image theory • Landscape • Mary Tibaldi Chiesa • Holy fool • Exhibition studies • Activation • Vittorio Gui • Franciscanism • Socially engaged art • Russian European • Chinese Contemporary art • Art market • Return to USSR • Screen • Italian postwar art • Aesthetics • Boris Godunov • Re-iconocity of characters • Soviet animation • Paintings • Giorgio Vasari • Animals • Khrushchev’s Thaw • Music • Photography in public space • Banksy • Miss Julie • Small-sized paintings • Contemporary art • Iconology • Moscow Olympic Games • Steve McQueen • Iconotext • Violin • Xerox Actions • Khovanshchina • Word-picture relationship • Architecture representation • Architecture theory • Engagement • Epidemic • City of 20th century • Visual • Italy • Land Art • France • National identity • Heidegger • Exhibitions • Sedimentation • Image • Katie Mitchell • Lombardy • Pimenov • Zeitbild • Historiography • Self-image • Robert Craft • Kant • Situation • JR • Boris Asafyev • Cultural tradition • Rome • Constructivism • Memory • Liu Yonggang • Pavel Lamm • Sport • Myth • Art in public space • Bologna • Soviet criticism • Architecture • Allison Stewart • Religious metaphor • Woodcut • Multidisciplinary • Masculinity • Theatre • The image of sport • 当代艺术 • Plato • Iconoclasm • Christiane Jatahy • Igor Stravinsky • Saint Sebastian • Art and power • Ri-mediation • Architecture exhibition • Art criticism • Drawing • Jacopo Ligozzi • Russian opera • Mirror • Philosophy • Black Lives Matter • Stage • Curatorial studies • Collecting in Rome • Dionysus • Exhibition set up • Oil sketches • Sport animation • Performative Languages • Photographic display • Theology • Politics • Painting of souvenirs • Intermediality • History of collections • Miraculous images • Russian opera in Italy • Epiphany • Cinema • Sculpture • Morazzone • Visual Culture Studies • Seventeenth century • Xenia Stravinsky • 1962 • Giovanni Baglione • Nikolay Rimsky-Korsakov • Burov • La Scala • Society of Easel Painters • Informal art