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