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