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