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