Behind the Image, Beyond the Image
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 Theatre • Fifteenth century • Modest Musorgsky • Collecting in Rome • Hagiography • Holy fool • Philosophy • Xerox Actions • Russian opera in Italy • Seventeenth century • Boris Asafyev • Informal art • Engagement • Lombardy • Toppled Monuments Archive • Vittorio Gui • Christiane Jatahy • Violin • Sport • Italian postwar art • Mary Tibaldi Chiesa • Rome • Miss Julie • Ecclesiology • Politics • Sculpture • Cinema • Cultural tradition • Sam Durant • Robert Smithson • Time • Igor Stravinsky • Soviet art theory • Theology • Franciscanism • Baroque • Architecture theory • Khrushchev’s Thaw • Landscape • Drawing • Xenia Stravinsky • Exhibition set up • Art market • Constructivism • Intermediality • Epidemic • Hudinilson Jr • JR • Burov • Image • Site-specific • Liu Yonggang • Socially engaged art • Return to USSR • Boris Godunov • Russian European • Architecture exhibition • Soviet animation • Pavel Lamm • Mirror • Painting of souvenirs • Robert Craft • Activation • Soviet criticism • Memory • 当代艺术 • European art • Chinese Contemporary art • Oil sketches • Miraculous images • Self-image • Katie Mitchell • Curatorial studies • Small-sized paintings • Soviet caricatures • Iconotext • Woodcut • Word-picture relationship • Media • Epiphany • Bologna • Iconology • Diplomatic gift • Steve McQueen • Iconoclasm • Sedimentation • Land Art • Music • Giovanni Baglione • Saint Sebastian • 1962 • Multidisciplinary • Heidegger • Morazzone • Architecture • France • Exhibition studies • Entropy • Photographic display • Dionysus • Animals • Image theory • Art and power • Madonna del Fuoco • Banksy • Participation • Ri-mediation • Zeitbild • Exhibitions • Art criticism • Photography in public space • Visual • Sketch • Khovanshchina • Pimenov • Black Lives Matter • Sport animation • City of 20th century • Allison Stewart • Screen • Historiography • La Scala • Moscow Olympic Games • Society of Easel Painters • History of collections • National identity • The image of sport • Monuments • Architecture representation • Kant • Know thyself • Jacopo Ligozzi • Contemporary art • Italy • Masculinity • Art in public space • Pseudomorphosis • Narcissus • Stage • Performative Languages • 刘永刚 • Aesthetics • Plato • Response • Paintings • Re-iconocity of characters • Visual Culture Studies • Religious metaphor • Nikolay Rimsky-Korsakov • Giorgio Vasari • Myth • Situation • Grand Tour • Russian opera
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language 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.