POETICS OF ENCHANTMENT: BETWEEN ARTISTIC PRACTICES AND SPIRITUAL EXERCICES LIOR ZALIS ABSTRAC As an analytical framework for artistic practices, this work explores forms of aesthetic intervention in public space that start from spirituality as a performative and symbolic resource. In the Latin American context, the public space is a space of enchantment in which various modes of social intervention are carried out, the product of a hybrid religiosity with its own poetics. Assuming the aesthetic-political character of these practices as true social techniques that do not recognize the boundaries between politics, art and spirituality, allows us to expand the grammar of artistic intervention. Reconnecting spirituality with politics implies recognising that the imaginary of social mobilisation transcends a secularised ideology and that religiosity is a fundamental aesthetic component. As an epistemic exercise to reconnect art with the rituality of community processes, it is proposed to start from a set of practices, cultural or artistic, separated into four modes of intervention (Romaria, Humear, Shake and Altar). As a general study of the political and aesthetic action dimension of these "enchanted tactics", this work deals with these practices as a kind of methodology of political action. Based on spiritual knowledge, they are con gured as a poetic and political commitment to other ways of thinking and acting in the socially shared material space and, therefore, capable of developing an analytical and tactical framework in the search for conceptual horizons that can guide other forms of artistic doing and experimentation. BIOGRAPH Lior Zisman Zalis is a doctoral student in Postcolonialism and Global Citizenship at the Centre for Social Studies of the University of Coimbra, where he is developing his research on the relationship between spiritual practices and political practices in Brazil. He has a master's degree in comparative studies of literature, art and thought from the Pompeu Fabra University and a law degree from the Ponti cal Catholic University of Rio de Janeiro, where he was a researcher at the Human Rights Centre of the Law Department. In the eld of research and artistic experimentation, he participated in the Independent Studies Program of the Museum of Contemporary Art of Barcelona, where he developed a work on the colonial history of the fetishism of the word. She worked at the MACBA as Coordinator of the Study Group on the Permanent Collection, among other projects in the eld of artistic-pedagogical practices and mediation.
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