Quaderni di Venezia Arti

Series | Quaderni di Venezia Arti
Volume 5 | Edited book | Behind the Image, Beyond the Image

Behind the Image, Beyond the Image

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

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.

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