Quaderni di Venezia Arti

Series | Quaderni di Venezia Arti
Volume 5 | Edited book | Behind the Image, Beyond the Image

Behind the Image, Beyond the Image

open access
    edited by
  • 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 Khrushchev’s ThawPhotographic displayArchitecture theoryCollecting in RomeEcclesiologySite-specificGiorgio VasariIntermedialityDiplomatic giftExhibition studiesConstructivismDionysusGiovanni BaglionePavel LammHudinilson JrCuratorial studiesFranceAestheticsEntropyMiraculous imagesImageSculptureViolinHagiographyIgor StravinskyPainting of souvenirsImage theoryInformal artSociety of Easel PaintersStageHoly foolBaroquePoliticsSoviet criticismMoscow Olympic GamesArt marketSam DurantBoris GodunovRussian operaNarcissusItalian postwar artXerox ActionsArt in public spaceRobert SmithsonArchitecture representationSocially engaged artSport animationHistory of collectionsPaintingsIconologyPlatoMorazzoneMythFranciscanismArchitectureMonumentsResponseToppled Monuments ArchiveLandscapeSteve McQueenItalyRussian EuropeanMasculinityWord-picture relationshipRomeOil sketchesMirrorWoodcutLiu YonggangChinese Contemporary artSedimentationBurovGrand TourLombardyEpidemicLa ScalaTheologySketchVittorio GuiCinemaPhotography in public spaceSituationCultural traditionMadonna del FuocoAllison StewartRe-iconocity of charactersNikolay Rimsky-Korsakov刘永刚DrawingMultidisciplinaryParticipationSportKhovanshchinaZeitbildMemoryFifteenth centuryMusicBanksyAnimalsMiss JulieSaint SebastianVisual Culture StudiesModest MusorgskyTimePerformative Languages当代艺术Soviet caricaturesBoris AsafyevSelf-imageRi-mediationBolognaBlack Lives MatterJacopo LigozziRussian opera in ItalyScreenThe image of sportRobert CraftArt and powerXenia StravinskyExhibitionsTheatreActivationExhibition set upSoviet animationArt criticismCity of 20th centurySeventeenth centuryReturn to USSRSoviet art theoryContemporary artKantEpiphanySmall-sized paintingsHeideggerEngagementLand ArtNational identityPhilosophyJRHistoriography1962IconotextPseudomorphosisChristiane JatahyMary Tibaldi ChiesaVisualKnow thyselfKatie MitchellArchitecture exhibitionIconoclasmPimenovMediaEuropean artReligious metaphor

Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language ru, it, en