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