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