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