unique drawing on verso of single-sided vinyl record,
SIGNED on the record,
4-color soft cover 40 pp booklet (bilingual Portuguese /English)
single-sided record and booklet from an edition of 270
includes an additional record without the drawing
(complete with sleeve and booklet)
Side A- single sided, recordings; Side B- unique drawing on the record
Producer: Emanuele Carcano; released by alga marghen, Milan
FROM THE BACK COVER
These previously unissued recordings from the Movimento de Arte Pornô (1980-1982) include five performances recorded live on Ipanema Beach in 1982, as well as a selection of previously unheard studio recordings of my yellpoems (Poemas-pra- gritar). I used to perform these works in squares, beaches, parks, theatres and many other locations at the time—often with my signature pink miniskirt, when not au naturel.
I fused existing coarse and curse words with parts of words, neologisms, salacious buffoonery, the antinormative scribblings of toilet-wall graffiti, commonplaces, blasphemy, expletives, agrammatisms, incorrect orthography, slangy expressions, lexical exorbitance, general obscenities, the gross and the grotesque, into a new whole. My use of stigmatizing words in these pornpoems transformed them from denigratory to empowering, through political critique and defiance.
The LP also includes the Manifesto Pornô (1980) and four recordings of Flatographic poems (Poemas flatográficos), from 1982, in which I use the flatus as a compositional unit and the mellifluous flatal flow as material. Flatographic poems have visual scores— one of which can be seen on the cover—for metabolic performances that combine meticulous precision with gaseous explosiveness of scatological resonance. Demanding a high level of self-mastery on the part of the performer, this anal poetry was the only series of works produced in the Movement to literally explore the internal side of the body. – Eduardo Kac, 2016
The Movimento de Arte Pornô (Porn Art Movement) was a transgressive avant-garde movement that took place in Brazil from 1980 through 1982. The movement happened under a military dictatorship and championed the use of pornography both as a form of political resistance and as an innovative art medium. The movement was formally experimental, politically liberal and socially non-conformative.
Eduardo Kac is internationally recognized for his groundbreaking and influential contributions to the development of contemporary art and poetry. In 1997, Kac sent shockwaves across the world by becoming the first human to implant a digital microchip through his work Time Capsule. It was also in 1997, in the context of Time Capsule, that he coined the term Bio Art, thus igniting the widespread development of this new art form. In 1999, he created the artwork Genesis, in which he encoded an English statement into living bacteria, allowed Internet participants to mutate the bacteria, and then decoded the mutant DNA back into altered English. In 2000, Kac made what many consider his most famous work; entitled GFP Bunny, it is comprised of a green fluorescent rabbit called Alba. By splicing jellyfish and rabbit DNA, he originated the first mammal in the history of art. Kac’s 2009 work Natural History of the Enigma, in which he created a new flower with his own DNA, earned him the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. In 2017, the New York Times published a full-page article about Kac’s Inner Telescope, a work he conceived for and realized in outer space with the cooperation of French astronaut Thomas Pesquet. His work is part of the permanent collection of the Museum of Modern Art in New York; Tate Modern, London; Victoria & Albert Museum, London; the Museum of Modern Art of Valencia, Spain; the ZKM Museum, Karlsruhe, Germany; and the Museum of Contemporary Art of São Paulo, among others.