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