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