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