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