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