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