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