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