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