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