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