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