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