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