Behind the Image, Beyond the Image
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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.
Theology • Music • Sport animation • Return to USSR • Contemporary art • Photographic display • Pavel Lamm • Baroque • Fifteenth century • Sedimentation • Site-specific • Morazzone • Collecting in Rome • Miss Julie • Xenia Stravinsky • Modest Musorgsky • Iconology • Nikolay Rimsky-Korsakov • Art market • Epidemic • History of collections • Sketch • The image of sport • Stage • Performative Languages • Pseudomorphosis • La Scala • Banksy • Russian European • Giovanni Baglione • France • Participation • Saint Sebastian • Aesthetics • Time • Cinema • Land Art • Curatorial studies • Art in public space • Ecclesiology • Image theory • Small-sized paintings • Dionysus • Architecture theory • Soviet art theory • Rome • Hudinilson Jr • Image • Photography in public space • Politics • Situation • Masculinity • Toppled Monuments Archive • Visual Culture Studies • Narcissus • Bologna • Seventeenth century • Plato • Art and power • Engagement • Exhibition studies • City of 20th century • Chinese Contemporary art • Architecture representation • Sculpture • JR • Boris Asafyev • Khovanshchina • Media • Italian postwar art • Xerox Actions • Myth • Art criticism • Paintings • Philosophy • Kant • Memory • Word-picture relationship • Activation • Animals • Multidisciplinary • Response • Architecture • 刘永刚 • Screen • Robert Smithson • Vittorio Gui • 1962 • Boris Godunov • Sport • Painting of souvenirs • Franciscanism • Robert Craft • Drawing • Holy fool • Zeitbild • Black Lives Matter • Epiphany • Know thyself • Architecture exhibition • Iconotext • Madonna del Fuoco • Christiane Jatahy • Cultural tradition • Oil sketches • Lombardy • Miraculous images • Mirror • Society of Easel Painters • Religious metaphor • Soviet animation • Sam Durant • Entropy • Italy • Monuments • Igor Stravinsky • Soviet criticism • Intermediality • Burov • Self-image • National identity • Khrushchev’s Thaw • Socially engaged art • Re-iconocity of characters • Giorgio Vasari • Violin • Ri-mediation • Landscape • Moscow Olympic Games • Theatre • Steve McQueen • Exhibitions • Constructivism • Woodcut • Hagiography • Heidegger • Diplomatic gift • Liu Yonggang • Mary Tibaldi Chiesa • European art • Historiography • Iconoclasm • Russian opera • Russian opera in Italy • Jacopo Ligozzi • Katie Mitchell • Visual • 当代艺术 • Grand Tour • Pimenov • Allison Stewart • Exhibition set up • Informal art • Soviet caricatures