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

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.

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