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