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