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