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