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