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