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