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