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 Constructivism • Xenia Stravinsky • Informal art • Visual • Sketch • Memory • Mirror • Igor Stravinsky • Mary Tibaldi Chiesa • Moscow Olympic Games • Plato • European art • Pavel Lamm • Small-sized paintings • City of 20th century • Cultural tradition • Oil sketches • Soviet caricatures • Chinese Contemporary art • Religious metaphor • Kant • Exhibition studies • Italian postwar art • Liu Yonggang • Architecture • Banksy • National identity • Franciscanism • Robert Craft • Drawing • Hudinilson Jr • Response • Sedimentation • Word-picture relationship • Allison Stewart • Saint Sebastian • Entropy • Site-specific • Image theory • Miraculous images • Re-iconocity of characters • Engagement • Intermediality • Iconotext • Burov • France • Exhibitions • Ri-mediation • Epiphany • Iconoclasm • Art criticism • Russian opera • Pimenov • Socially engaged art • Zeitbild • Khrushchev’s Thaw • Steve McQueen • Giorgio Vasari • Monuments • Sam Durant • Toppled Monuments Archive • Performative Languages • Art in public space • La Scala • Screen • Return to USSR • Activation • Media • Woodcut • Curatorial studies • Xerox Actions • Khovanshchina • Italy • Architecture exhibition • Masculinity • Sport • Soviet animation • Soviet art theory • Russian European • Nikolay Rimsky-Korsakov • Bologna • Ecclesiology • Animals • Architecture representation • Grand Tour • Iconology • Music • Stage • Cinema • Baroque • Philosophy • Violin • Collecting in Rome • Epidemic • Lombardy • Sculpture • Sport animation • Boris Asafyev • Time • 刘永刚 • Painting of souvenirs • Theatre • 当代艺术 • Politics • Paintings • Situation • Photography in public space • Art and power • 1962 • Christiane Jatahy • Historiography • Diplomatic gift • Dionysus • Pseudomorphosis • Aesthetics • Modest Musorgsky • JR • Self-image • Image • Society of Easel Painters • Soviet criticism • Black Lives Matter • Giovanni Baglione • Rome • Heidegger • Fifteenth century • Morazzone • Hagiography • Seventeenth century • Participation • Robert Smithson • Katie Mitchell • History of collections • Contemporary art • Russian opera in Italy • Madonna del Fuoco • Land Art • Multidisciplinary • Theology • Art market • Photographic display • Jacopo Ligozzi • Miss Julie • Know thyself • Narcissus • Vittorio Gui • Exhibition set up • Visual Culture Studies • Boris Godunov • Holy fool • Myth • Architecture theory • Landscape • The image of sport
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Pubblicato 13 Maggio 2022 | Lingua ru, en, 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.