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