Behind the Image, Beyond the Image
Descrizione
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.
Persone
Argan, Giovanni (Curatore)
Gigante, Lorenzo (Curatore)
Kozachenko-Stravinsky , Anastasia (Curatore)
Editore:
Edizioni Ca’ Foscari - Venice University PressData:
2022Formato
application/pdf (57.01 MB)
Soggetto
• Russian European • Cultural tradition • Landscape • Sport animation • Grand Tour • Drawing • Architecture exhibition • La Scala • Boris Godunov • Monuments • Toppled Monuments Archive • Pseudomorphosis • Franciscanism • Curatorial studies • Iconology • Art criticism • Visual Culture Studies • Land Art • Giovanni Baglione • Zeitbild • Igor Stravinsky • Sculpture • Exhibitions • 当代艺术 • Cinema • Image • Narcissus • Ri-mediation • Exhibition set up • Art and power • Memory • Exhibition studies • Sam Durant • Madonna del Fuoco • Small-sized paintings • Architecture • Art market • JR • Oil sketches • Bologna • Art in public space • Historiography • National identity • Iconoclasm • Image theory • Violin • Woodcut • Theatre • Christiane Jatahy • Ecclesiology • Theology • Response • Religious metaphor • Khrushchev’s Thaw • Xenia Stravinsky • The image of sport • Collecting in Rome • Giorgio Vasari • France • Liu Yonggang • 1962 • 刘永刚 • Modest Musorgsky • Hudinilson Jr • Miraculous images • Vittorio Gui • Soviet art theory • History of collections • Sport • Nikolay Rimsky-Korsakov • Mirror • Time • Sedimentation • Kant • Contemporary art • Performative Languages • Chinese Contemporary art • Photography in public space • Soviet animation • Constructivism • Black Lives Matter • Masculinity • Architecture representation • Burov • Intermediality • Socially engaged art • Diplomatic gift • Mary Tibaldi Chiesa • Word-picture relationship • Seventeenth century • Stage • Boris Asafyev • Baroque • Banksy • Media • Soviet criticism • Allison Stewart • Paintings • Iconotext • Re-iconocity of characters • Photographic display • Animals • Screen • Plato • Aesthetics • Fifteenth century • Soviet caricatures • European art • Pavel Lamm • Italian postwar art • Politics • Return to USSR • Steve McQueen • Jacopo Ligozzi • Morazzone • Robert Craft • Heidegger • Visual • Russian opera in Italy • Khovanshchina • Epiphany • Sketch • Multidisciplinary • Rome • City of 20th century • Xerox Actions • Activation • Moscow Olympic Games • Entropy • Participation • Saint Sebastian • Italy • Holy fool • Architecture theory • Myth • Russian opera • Painting of souvenirs • Engagement • Katie Mitchell • Epidemic • Robert Smithson • Site-specific • Society of Easel Painters • Hagiography • Lombardy • Informal art • Self-image • Miss Julie • Know thyself • Dionysus • Music • Situation • Philosophy • Pimenov