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