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