Esta crônica (&) misteriosamente (&) artística: d’outra Coimbr’à-baixa

This mysteriously (&) artistic (&) chronicle: the d(r)own-town otherness of Coimbra

Abstract

We hereby refer to this document as a “Chronicle for Visuality in Artistic Processes” or “Performative Chronicle”. From the moment the authorial enunciation happens, the mediality of the word is already contained in the experimentation of an artistic origin. There is, therefore, no epistemic distance between the researcher as subject in a methodologically controlled domain in the production of knowledge worth retaining. As one can see from such an approach, which is of the creative artist as part of a political body which is neither (under)trayed nor disbelieved, it is obvious that word here lends itself to the perceptual amalgam that artist as audience. Through the poetic conviviality of the artist as a legitimate holder of the affectional field of creativity, there emerges a poetic experience which deviates from logical scrutiny, conceptual rigor, and technical effort through a numinous encounter with mystery. The Chronicle terms activate the second spatiality of the Journal's role due to the possibility of immediate experience with Temporality coupled with its respective discursive inflection. This notion can be employed to grasp the appreciation of the “sensibility” in the Temporality of art – where the plot of “khronos” (the “Chronicle”) destabilizes both sides equally: in the establishment of a strict textual genre, as well as in the rule of canonical validation with regard to what “is art” or “is not art”. Particularly, this content version focuses on the interaction between Perspectivisms, with a particular attention to an attentive visitation by the author to the contemporary poetics of three Brazilian artists which emerged as the core concept of the exhibition “Habitar-se/Coabitar-nos” (curated by Susana Rodrigues) showing in the month of April 2021. Gradually, the author advances between relational layers, creating a “landscape of wandering” situated halfway between the art legency and the art audience, emerging from the plastic, visual, and performative works of Cristiana Nogueira, Edicleison Freitas, and Thales Luz. Based on mutual influences, the works result from those artist's sixty-day residency in dialogue with a domestic space. As this experimentation of thought leads to collisions of spatialities ejected from the exhibition process of Coimbra, the argument leads into exclusion on the borderline of epistemic “congruence” between text and refered artistic extra-commonness. While the present novelty is not conjured up by the shock of facing an academic truth, its foreboding is tributary to the learning above-mentioned: Louise Rosenblatt, Alberto Manguel, Maria Gabriela Llansol, João Guimarães Rosa, Giorgio Agamben, Eduardo Viveiros de Castro etc.