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