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