Behind the Image, Beyond the Image
open access
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edited by
- Giovanni Argan - Università Ca’ Foscari Venezia, Italia - email
- Lorenzo Gigante - Università Ca’ Foscari Venezia, Italia - email
- Anastasia Kozachenko-Stravinsky - Università Ca’ Foscari Venezia, Italia - email
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.
Keywords Hudinilson Jr • Modest Musorgsky • Boris Godunov • Christiane Jatahy • Philosophy • Photographic display • European art • Exhibitions • Masculinity • Diplomatic gift • Collecting in Rome • Italy • Banksy • Cinema • Theatre • Robert Craft • Black Lives Matter • 刘永刚 • Ecclesiology • Response • Society of Easel Painters • Epidemic • Architecture exhibition • Liu Yonggang • Lombardy • Visual Culture Studies • Miraculous images • Burov • Allison Stewart • Constructivism • Jacopo Ligozzi • Religious metaphor • Contemporary art • Giovanni Baglione • Cultural tradition • Zeitbild • Pseudomorphosis • Dionysus • Soviet art theory • Robert Smithson • History of collections • Soviet caricatures • Soviet criticism • 1962 • Screen • Oil sketches • Situation • Visual • 当代艺术 • Art criticism • Re-iconocity of characters • Art market • Pavel Lamm • Image theory • Time • Franciscanism • Pimenov • France • Engagement • Land Art • Woodcut • Politics • Exhibition set up • Saint Sebastian • Art in public space • Moscow Olympic Games • Katie Mitchell • Khovanshchina • Xenia Stravinsky • Exhibition studies • Mirror • National identity • Iconoclasm • Russian European • Informal art • Site-specific • Heidegger • Know thyself • Morazzone • Intermediality • Steve McQueen • Miss Julie • Soviet animation • Architecture representation • Aesthetics • Participation • Italian postwar art • Hagiography • Monuments • Animals • Baroque • Self-image • Epiphany • Nikolay Rimsky-Korsakov • Small-sized paintings • Narcissus • Word-picture relationship • Vittorio Gui • Igor Stravinsky • Memory • Entropy • Theology • Sport • Curatorial studies • Fifteenth century • La Scala • Stage • Sketch • Architecture theory • Paintings • Photography in public space • Iconology • Image • Architecture • Boris Asafyev • Seventeenth century • Mary Tibaldi Chiesa • Sedimentation • Socially engaged art • Iconotext • Grand Tour • Xerox Actions • Historiography • Plato • Russian opera • Sam Durant • Activation • Violin • Rome • Media • Giorgio Vasari • Madonna del Fuoco • City of 20th century • Chinese Contemporary art • Kant • Music • Drawing • Holy fool • Multidisciplinary • Russian opera in Italy • Khrushchev’s Thaw • Sculpture • Myth • Sport animation • Toppled Monuments Archive • Landscape • JR • Ri-mediation • Art and power • Painting of souvenirs • Performative Languages • The image of sport • Bologna • Return to USSR
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language it, en, ru
Copyright © 2022 Giovanni Argan, Lorenzo Gigante, Anastasia Kozachenko-Stravinsky. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.