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