Quaderni di Venezia Arti

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Volume 5 | Miscellanea | Behind the Image, Beyond the Image

Behind the Image, Beyond the Image

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

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.

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