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