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