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