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