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