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