Quaderni di Venezia Arti

Collana | Quaderni di Venezia Arti
Volume 5 | Miscellanea | Behind the Image, Beyond the Image

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

Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Pubblicato 13 Maggio 2022 | Lingua 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.

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