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

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.

chevron_left chevron_right

downloadfile_download

  • file_download 72
  • search 72
  • format_quote 0

Sommario

Se trovi interessanti le nostre pubblicazioni e vuoi ricevere aggiornamenti sulle prossime uscite, iscriviti ora alla nostra newsletter.

x

Newsletter