Behind the Image, Beyond the Image
open access
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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 Iconoclasm • Zeitbild • Cultural tradition • Site-specific • Burov • Architecture theory • Architecture representation • Sedimentation • Sport • Time • Multidisciplinary • Society of Easel Painters • Ri-mediation • Holy fool • Epidemic • National identity • Xenia Stravinsky • Paintings • Engagement • Image theory • Allison Stewart • Performative Languages • Landscape • Exhibition studies • Mirror • Katie Mitchell • Historiography • Photographic display • Visual • Chinese Contemporary art • Pimenov • Screen • Liu Yonggang • Myth • Art in public space • 刘永刚 • Morazzone • Russian opera • Pavel Lamm • Mary Tibaldi Chiesa • Ecclesiology • Boris Asafyev • Banksy • Self-image • Activation • Painting of souvenirs • Robert Craft • Saint Sebastian • La Scala • Small-sized paintings • Socially engaged art • Curatorial studies • Participation • Jacopo Ligozzi • Boris Godunov • Russian European • European art • Robert Smithson • Giovanni Baglione • JR • History of collections • Khrushchev’s Thaw • Sketch • The image of sport • Epiphany • Miss Julie • Oil sketches • Situation • Art market • Diplomatic gift • Soviet caricatures • Religious metaphor • Iconology • Land Art • Steve McQueen • Xerox Actions • Lombardy • Narcissus • Cinema • Memory • Word-picture relationship • Entropy • Politics • Exhibition set up • Rome • Philosophy • Monuments • Art criticism • 1962 • Sculpture • 当代艺术 • Pseudomorphosis • Animals • Sam Durant • Fifteenth century • Giorgio Vasari • Bologna • Italian postwar art • Franciscanism • Toppled Monuments Archive • Woodcut • Seventeenth century • Iconotext • Image • Art and power • Architecture exhibition • City of 20th century • Contemporary art • Know thyself • France • Plato • Russian opera in Italy • Theatre • Aesthetics • Igor Stravinsky • Response • Music • Masculinity • Architecture • Grand Tour • Soviet animation • Miraculous images • Modest Musorgsky • Intermediality • Christiane Jatahy • Soviet criticism • Sport animation • Constructivism • Italy • Soviet art theory • Theology • Hudinilson Jr • Photography in public space • Drawing • Khovanshchina • Black Lives Matter • Informal art • Violin • Baroque • Collecting in Rome • Exhibitions • Moscow Olympic Games • Stage • Heidegger • Nikolay Rimsky-Korsakov • Re-iconocity of characters • Kant • Dionysus • Media • Madonna del Fuoco • Visual Culture Studies • Hagiography • Vittorio Gui • Return to USSR
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language en, it, ru
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.