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