Series |
Quaderni di Venezia Arti
Volume 5 | Edited book | Behind the Image, Beyond the Image
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 City of 20th century • Italy • Miraculous images • Visual • Fifteenth century • Mary Tibaldi Chiesa • Image theory • Russian European • Self-image • Robert Smithson • Lombardy • Katie Mitchell • Participation • Xenia Stravinsky • Banksy • Contemporary art • Kant • Know thyself • Collecting in Rome • Russian opera in Italy • Architecture exhibition • Politics • Media • Exhibition set up • Nikolay Rimsky-Korsakov • Response • Madonna del Fuoco • Moscow Olympic Games • Toppled Monuments Archive • Art criticism • Paintings • European art • Art in public space • Giovanni Baglione • Soviet criticism • Curatorial studies • Miss Julie • Soviet art theory • Myth • Photography in public space • Pavel Lamm • Activation • History of collections • Steve McQueen • Igor Stravinsky • Art and power • Ri-mediation • Theology • Hudinilson Jr • Photographic display • Italian postwar art • Bologna • Plato • Vittorio Gui • Society of Easel Painters • Sketch • La Scala • Oil sketches • Dionysus • Word-picture relationship • Exhibitions • Sport • Stage • Saint Sebastian • Religious metaphor • Woodcut • Cinema • Liu Yonggang • Exhibition studies • Aesthetics • Screen • Jacopo Ligozzi • 1962 • Morazzone • Philosophy • Baroque • Boris Godunov • Masculinity • Music • Constructivism • Burov • Entropy • Sport animation • Violin • Cultural tradition • Painting of souvenirs • Franciscanism • Sculpture • Mirror • Soviet animation • Land Art • Small-sized paintings • Xerox Actions • Pimenov • National identity • Grand Tour • Return to USSR • Historiography • Drawing • The image of sport • Time • Christiane Jatahy • Diplomatic gift • Architecture • Image • Sedimentation • Site-specific • Visual Culture Studies • Seventeenth century • Iconoclasm • Art market • Performative Languages • Multidisciplinary • Russian opera • Heidegger • Khrushchev’s Thaw • Informal art • Chinese Contemporary art • Zeitbild • Iconology • Memory • 刘永刚 • Narcissus • Situation • Architecture theory • Iconotext • Re-iconocity of characters • Giorgio Vasari • Socially engaged art • Hagiography • Monuments • Epidemic • Engagement • Intermediality • Holy fool • 当代艺术 • Animals • Boris Asafyev • Rome • Khovanshchina • Theatre • Black Lives Matter • France • Ecclesiology • Pseudomorphosis • Sam Durant • Allison Stewart • Modest Musorgsky • Epiphany • Robert Craft • Soviet caricatures • JR • Landscape • Architecture representation
Permalink http://doi.org/10.30687/978-88-6969-588-9 | e-ISBN 978-88-6969-588-9 | Published May 13, 2022 | Language it, ru, 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.