Series |
Quaderni di Venezia Arti
Volume 5 | Edited book | Behind the Image, Beyond the Image
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 Lombardy • Epiphany • Sketch • Stage • Miraculous images • Moscow Olympic Games • Theology • JR • Franciscanism • Baroque • Cinema • Society of Easel Painters • Drawing • Italian postwar art • Soviet art theory • Toppled Monuments Archive • Land Art • Chinese Contemporary art • Contemporary art • Hagiography • Multidisciplinary • Saint Sebastian • Photographic display • Politics • Diplomatic gift • Burov • Morazzone • Boris Godunov • Iconotext • Russian opera • Nikolay Rimsky-Korsakov • Performative Languages • Sport animation • Vittorio Gui • Xerox Actions • Visual Culture Studies • Aesthetics • Banksy • Landscape • Visual • Soviet criticism • Zeitbild • Art and power • City of 20th century • Oil sketches • Return to USSR • Small-sized paintings • Soviet caricatures • Steve McQueen • Pseudomorphosis • Cultural tradition • Fifteenth century • Iconology • Architecture exhibition • Time • Sam Durant • Theatre • Miss Julie • Violin • Entropy • European art • Media • Ri-mediation • Woodcut • Madonna del Fuoco • La Scala • Art in public space • Khovanshchina • Dionysus • Masculinity • Boris Asafyev • Architecture theory • Mirror • Socially engaged art • Soviet animation • Holy fool • History of collections • Grand Tour • Participation • 当代艺术 • Monuments • Paintings • Italy • Response • Exhibition studies • Khrushchev’s Thaw • Image • Pavel Lamm • Sport • Giovanni Baglione • 刘永刚 • Architecture representation • Activation • Robert Craft • Liu Yonggang • Site-specific • Ecclesiology • Constructivism • Seventeenth century • National identity • Katie Mitchell • Black Lives Matter • Christiane Jatahy • Architecture • Art market • Situation • Image theory • Historiography • Animals • Mary Tibaldi Chiesa • Word-picture relationship • Religious metaphor • Exhibitions • Myth • Sculpture • Xenia Stravinsky • Heidegger • Know thyself • Epidemic • Rome • France • Music • The image of sport • Allison Stewart • Giorgio Vasari • Robert Smithson • Painting of souvenirs • Philosophy • Screen • Collecting in Rome • Plato • Igor Stravinsky • Sedimentation • Engagement • Informal art • Exhibition set up • Russian opera in Italy • Curatorial studies • Re-iconocity of characters • Art criticism • Jacopo Ligozzi • Kant • Modest Musorgsky • Narcissus • Memory • Bologna • Hudinilson Jr • Intermediality • Russian European • Iconoclasm • Self-image • Pimenov • 1962 • Photography in public space
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language en, ru, 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.
Behind / Beyond Dimension
Behind / Beyond the Stage
Behind / Beyond Public Space
Behind / Beyond Politics
Behind / Beyond Madness
Behind / Beyond Meditation
Behind / Beyond Memory
Behind / Beyond the Idea
Behind / Beyond the Iron Curtain