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