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