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