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