Quaderni di Venezia Arti

Collana | Quaderni di Venezia Arti
Volume 5 | Miscellanea | Behind the Image, Beyond the Image

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

Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Pubblicato 13 Maggio 2022 | Lingua en, ru, it

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.

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