Series |
Quaderni di Venezia Arti
Volume 5 | Edited book | Behind the Image, Beyond the Image
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 Zeitbild • Dionysus • Katie Mitchell • Screen • Robert Craft • Visual Culture Studies • JR • City of 20th century • Politics • Animals • Multidisciplinary • Sketch • Italy • Iconology • Sculpture • Visual • Giorgio Vasari • Kant • Giovanni Baglione • Heidegger • Masculinity • Soviet criticism • Hudinilson Jr • Burov • Art and power • Architecture • Epiphany • Fifteenth century • Exhibition studies • Performative Languages • Hagiography • Exhibition set up • Historiography • Word-picture relationship • Landscape • Self-image • Response • Soviet animation • Moscow Olympic Games • 1962 • Cinema • Philosophy • Know thyself • Religious metaphor • Oil sketches • Participation • Pimenov • Italian postwar art • Modest Musorgsky • Soviet caricatures • Woodcut • Activation • Morazzone • Boris Asafyev • Franciscanism • Igor Stravinsky • European art • Monuments • Media • Stage • Rome • Saint Sebastian • Iconotext • Allison Stewart • Narcissus • 刘永刚 • Art in public space • Liu Yonggang • Informal art • Art criticism • Exhibitions • Time • Iconoclasm • Drawing • Epidemic • Nikolay Rimsky-Korsakov • Chinese Contemporary art • Image theory • Architecture representation • Photography in public space • Theology • Society of Easel Painters • Jacopo Ligozzi • Miraculous images • Diplomatic gift • Miss Julie • Ri-mediation • Photographic display • Contemporary art • Khrushchev’s Thaw • Site-specific • Xerox Actions • Toppled Monuments Archive • Memory • Vittorio Gui • Constructivism • Theatre • Khovanshchina • La Scala • Russian European • The image of sport • Curatorial studies • Intermediality • National identity • Land Art • Banksy • Soviet art theory • Russian opera in Italy • Painting of souvenirs • Grand Tour • Small-sized paintings • Situation • Mirror • Black Lives Matter • Sedimentation • Collecting in Rome • Sam Durant • Art market • Lombardy • Russian opera • Sport animation • Pseudomorphosis • Ecclesiology • Holy fool • Violin • Architecture theory • 当代艺术 • Socially engaged art • Architecture exhibition • Bologna • History of collections • Christiane Jatahy • Entropy • Madonna del Fuoco • Robert Smithson • Seventeenth century • Cultural tradition • Return to USSR • Paintings • Myth • Music • Baroque • Pavel Lamm • Re-iconocity of characters • Plato • Mary Tibaldi Chiesa • Aesthetics • France • Boris Godunov • Steve McQueen • Image • Xenia Stravinsky • Sport • Engagement
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language en, it, 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.