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 Politics • Oil sketches • Baroque • Grand Tour • Saint Sebastian • Holy fool • Christiane Jatahy • Exhibition studies • Performative Languages • Vittorio Gui • Know thyself • Architecture representation • Screen • Iconotext • Animals • Media • Sport animation • Photography in public space • 刘永刚 • Fifteenth century • Socially engaged art • Xenia Stravinsky • Sketch • Participation • Aesthetics • Allison Stewart • Sport • Multidisciplinary • Masculinity • Landscape • Architecture theory • Cinema • Russian opera • Ri-mediation • Kant • Exhibition set up • Epidemic • Cultural tradition • Historiography • Katie Mitchell • Visual Culture Studies • Modest Musorgsky • Site-specific • Burov • Collecting in Rome • Activation • Sculpture • Intermediality • Italian postwar art • Miraculous images • Philosophy • Mirror • Madonna del Fuoco • Visual • Theatre • Engagement • Boris Godunov • Robert Smithson • Image • Russian European • Society of Easel Painters • Dionysus • The image of sport • City of 20th century • Mary Tibaldi Chiesa • Zeitbild • Music • Sedimentation • Igor Stravinsky • Informal art • Soviet criticism • Art market • Black Lives Matter • 1962 • Pimenov • Constructivism • Art in public space • Curatorial studies • Robert Craft • Xerox Actions • Toppled Monuments Archive • Paintings • Architecture exhibition • Diplomatic gift • Lombardy • Drawing • Italy • Religious metaphor • Giorgio Vasari • European art • Khrushchev’s Thaw • Iconology • Soviet art theory • Time • Art criticism • Image theory • Plato • La Scala • Bologna • Exhibitions • Morazzone • Giovanni Baglione • Land Art • National identity • Entropy • Franciscanism • Re-iconocity of characters • Jacopo Ligozzi • Art and power • Moscow Olympic Games • Russian opera in Italy • Heidegger • Return to USSR • Steve McQueen • Boris Asafyev • Epiphany • Soviet animation • Liu Yonggang • Stage • History of collections • Memory • Khovanshchina • Theology • Small-sized paintings • Sam Durant • Soviet caricatures • Narcissus • Response • Contemporary art • Hagiography • Self-image • Banksy • Rome • Pavel Lamm • Hudinilson Jr • Ecclesiology • Woodcut • JR • Nikolay Rimsky-Korsakov • Monuments • Iconoclasm • Pseudomorphosis • Miss Julie • Photographic display • Painting of souvenirs • Architecture • Chinese Contemporary art • Violin • France • Seventeenth century • 当代艺术 • Situation • Myth • Word-picture relationship
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language it, ru, en
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.