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