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