Quaderni di Venezia Arti

Collana | Quaderni di Venezia Arti
Volume 5 | Miscellanea | Behind the Image, Beyond the Image

Behind the Image, Beyond the Image

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

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.

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