Quaderni di Venezia Arti

Behind the Image, Beyond the Image

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open access
    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 WoodcutBanksyReturn to USSRPoliticsMonumentsSite-specificBoris AsafyevViolinSoviet criticismHistory of collectionsLa ScalaIntermedialityJacopo LigozziArchitectureConstructivismVisual Culture StudiesCuratorial studiesEntropyEngagementKatie MitchellStageSketchAnimalsMiraculous imagesKhovanshchinaMasculinityLombardyMoscow Olympic GamesArchitecture representationActivationMemoryBaroqueRussian operaIconoclasmEpiphanyVisualKnow thyselfExhibitionsHoly foolLandscape当代艺术PimenovMorazzoneNational identitySam DurantOil sketchesHistoriographyImage theoryIconologyIgor StravinskyCollecting in RomeRussian EuropeanMary Tibaldi ChiesaSituationArt in public spaceScreenBoris GodunovGrand Tour1962Painting of souvenirsSportFifteenth centuryToppled Monuments ArchiveHeideggerSelf-imageHagiographyArt and powerParticipationArt criticismPhilosophyItalyGiovanni BaglioneGiorgio VasariDrawingSculpturePhotography in public spaceItalian postwar artPavel LammAestheticsDionysusCity of 20th centuryThe image of sportZeitbildPseudomorphosisSeventeenth centuryReligious metaphorArt marketMadonna del FuocoBurovNarcissusIconotextModest MusorgskyPaintingsInformal artEpidemicWord-picture relationshipChristiane JatahyKhrushchev’s ThawResponseMusicLiu YonggangSteve McQueenTimeFranciscanismCinemaCultural traditionRobert CraftExhibition studiesFranceMiss JulieMultidisciplinaryTheatreNikolay Rimsky-KorsakovMythVittorio GuiPerformative LanguagesPlatoSaint SebastianLand ArtRomeExhibition set upDiplomatic giftImageSociety of Easel PaintersSport animationSedimentationRi-mediationSoviet animationArchitecture exhibitionHudinilson JrRussian opera in ItalyKantJRBolognaBlack Lives MatterAllison StewartChinese Contemporary artContemporary artSmall-sized paintingsArchitecture theoryXerox ActionsSoviet art theoryMediaRe-iconocity of charactersRobert SmithsonEuropean artSocially engaged artMirrorTheologyXenia StravinskyEcclesiologySoviet 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