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