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