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