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