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