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