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