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