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