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