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