281:, a self-printed double-sided sheet designed entirely on a typewriter that was visually provocative and mixed indiscriminately classic, experimental and popular pornographic material. Hudinilson Jr. created a visual vocabulary based on his systematic sampling of his own body through reprographic media, notably the photocopier. Leila MĂccolis, Teresa Jardim and Cynthia Dorneles developed their respective poetic voices through a form of feminism that combined unabashed pornography and liberal political positions. Ota produced invitations, posters, cartoons and comics through which he advanced the movement's agenda while inviting the movement's participants and the public to laugh. The poetry of Braulio Tavares and the drawings of Siegbert Franklin were also significant contributions to the movement. Publicly forging a new subjectivity, Eduardo Kac wore a pink mini-skirt in his daily life. Kac also developed the innovative series entitled
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a wide array of props and publications, climaxed with a nude demonstration along the beach (which was and still is forbidden by law), mobilized public participation, and culminated with a collective dive in the ocean—a symbolic act meant to signify self-renewal, the beginning of a better path forward beyond the prevailing political and aesthetic conservatism.
64:). This was a sudden invasion of the beach's Lifeguard Post 9 (Posto Nove) with performances, poetry readings, demonstrations with banners featuring slogans, and distribution of publications. Lifeguard Post 9 was a strategic choice: it was considered at the time the epicenter of the beach (and, as a consequence, a major focal point of the city).
325:
magazine started publication in Brazil in 1975, one of the harshest periods of the military dictatorship. This was a time of rampant police brutality, when political prisoners were tortured and killed with impunity. In 1982, the
President of Brazil, General JoĂŁo Figueiredo, made headlines calling for
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On
February 13, 1982, the Gang presented its last major public intervention, which took place in Ipanema Beach's Lifeguard Post 9. This event, which Kac considers the formal end of the movement, mobilized 9 performers, explored the entire repertoire developed during the preceding two years, included
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The
Brazilian Porn Art Movement anticipated the international use of pornography as a critical and imaginative art form, as later seen in the work of Jeff Koons, Annie Sprinkle, Sue Williams, Santiago Sierra, Shu Lea Cheang, Wim Delvoye and the artists featured in the 2006 DVD compilation entitled
31:
and pioneered the use of pornography both as a form of political resistance and as an innovative art medium. The movement was formally experimental, politically progressive and socially non-normative. It used the word “porn” deliberately but it did not produce conventional pornography. Rather, it
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intervention, Kac and
Trindade invited Teresa Jardim to join them, thus forming the official performative arm of the movement, which they called Gang (The Gang). Braulio Tavares, Ana Miranda, Cynthia Dorneles and Sandra Terra also performed with The Gang.
285:, hybrid of body art, design, political resistance, performance, publishing, activism, photography and poetry. In this series Kac uses photography to explore the possibilities of writing with the body and writing the body itself. Kac included two
32:
rejected erotica, which was accepted by the dictatorship, and subverted the logic of pornography to create social, political and aesthetic alternatives that employed humor, scatology, surprise, poetry, performance, body politics and
136:), developed by the artist between 1980 and 1982. The first museum exhibition of the Brazilian Porn Art Movement took place at the Reina SofĂa Museum, in Madrid, in the context of the group show
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was organized by P.S.1 Contemporary Art Center curatorial adviser
Neville Wakefield and featured artists such as Marina Abramović, Larry Clark, and Matthew Barney.
98:’s main square known as Cinelândia, a vibrant and busy area surrounded by the Municipal Theatre, the National Library, the Rio de Janeiro City Council and the
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Belisario Franca, then a photographer, accompanied The Gang between 1980 and 1982, producing photographic documentation of many of its interventions.
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https://web.archive.org/web/20140701083650/http://www.tecnoartenews.com/eventos/o-movimento-da-arte-porno-no-brasil-eduardo-kac-e-o-coletivo-gang/
480:
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Alencar, Martha. “Careta apresenta a primeira porno-entrevista da porno-imprensa porno-protagonizada pelos porno-poetas do movimento pornô”,
36:. Organized and coordinated activities ended in 1982, but isolated performances were realized and publications came out until 1984. The book
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The movement started to be rediscovered in 2010, when the Laura
Marsiaj Gallery, in Rio de Janeiro, exhibited Eduardo Kac's series entitled
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to develop the movement together and they launched it publicly on March 30, 1980, through their
Ipanema Beach intervention called
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The
Movimento de Arte PornĂ´ (Porn Art Movement), also known as Poesia PornĂ´ (Pornpoetry) or Pornismo (Pornism), was conceived by
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https://web.archive.org/web/20130414080728/http://www.lugaradudas.org/archivo/2012/exhibiciones/310812_colectivo_gang.html
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on
September 9, 1980. The selection of Cinelândia was also a strategic maneuver, since it is the heart of Rio de Janeiro.
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https://web.archive.org/web/20140323103135/http://www.thegentleman.com.br/pt/people/eduardo-kac-experiment-without-fear
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277:, drawing, photography, cartoon and the graphic arts. Glauco Mattoso created an innovative form that he called
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https://web.archive.org/web/20140413155851/http://www.lugaradudas.org/publicaciones/exhibiciones/GANG.pdf
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zine, in addition to chapbooks, stickers, t-shirts, prints, comics, artist's books and anthologies.
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In 2011, Rio de
Janeiro Police arrested three Dutch tourists for being naked in Copacabana Beach.
102:. In front of a public that mixed intellectuals and popular audiences, the Gang read out loud the
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611:, Instituto de Artes, Universidade do Estado do Rio de Janeiro, n. 17, 2010, pp. 120–127.
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a "crusade against pornography." See: "Figueiredo convoca a nação para combater pornografia."
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The Porn Art Movement produced work in a variety of media, including performance, poetry,
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140:, realized in October 2012. The museum published a catalogue that features the movement.
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Vv.Aa., Perder la forma humana. Una imagen sĂsmica de los años ochenta en AmĂ©rica Latina
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87:, n. 1, September 1980. The movement published a total of three editions of the
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movement that started in 1980 and ended in 1982. The movement took place under a
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509:"Perder la forma humana | Museo Nacional Centro de Arte Reina SofĂa"
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481:"Rioecultura - EXPOSICAO: Pornogramas: 1980-1982 [Eduardo Kac]"
549:"Joan Flasch Artists' Book Collection | SAIC Digital Collections"
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Between 1980 and 1982, every Friday night The Gang performed at
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Rodrigues, Dolores. “Poesia Pornô: Liberta, aberta e honesta”.
40:, published in 1984, was the last publication of the movement.
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Tinoco, Bianca. “Eduardo Kac e a escrita do corpo no espaço”,
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http://www.lepeuplequimanque.org/en/distribution/eduardo-kac
83:) in May 1980 and first published it in the movement's zine
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http://archives.carre.pagesperso-orange.fr/KAC_Eduardo.html
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Cunha, Maria C. “Arte Pornô, a última dos novos poetas.”
23:(Movimento de Arte PornĂ´) was a transgressive Brazilian
572:
Anônimo. “Sem Erotismo. Corpos e palavras como são”,
521:Nogueira, Fernanda; Henaro, Sol. “Overgoze,” in:
433:(Rio de Janeiro: Editora Codecri, 1984), p. 189.
420:(Rio de Janeiro: Editora Codecri, 1984), p. 177.
407:(Rio de Janeiro: Editora Codecri, 1984), p. 176.
394:(Rio de Janeiro: Editora Codecri, 1984), p. 178.
356:(Rio de Janeiro: Editora Codecri, 1984), p. 188.
525:(Madrid: Museo Reina Sofia, 2012), pp. 199-203.
52:in January 1980 in Rio de Janeiro. Kac invited
369:, Rio de Janeiro, January/February 1982, p. 8.
593:Mattoso, Glauco. “O vaivém da poesia pornô”,
8:
457:, n. 660, February 18th to 24th, 1982, p. 6.
16:Brazilian transgressive avant-garde movement
569:, n. 2739, August 22, 1981, pp. 34–36.
182:. Unsourced material may be challenged and
202:Learn how and when to remove this message
647:http://www.ota.com.br/museu/pornocom.htm
590:(Rio de Janeiro: Editora Codecri, 1984).
586:Kac, Eduardo; Trindade, Cairo. (orgs.).
579:Kac, Eduardo; Trindade, Cairo. (orgs.).
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416:Kac, Eduardo; Trindade, Cairo. (orgs.).
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352:Kac, Eduardo; Trindade, Cairo. (orgs.).
343:(Rio de Janeiro: Editora Codecri, 1984).
339:Kac, Eduardo; Trindade, Cairo. (orgs.).
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583:(Rio de Janeiro: Editora Trote, 1981).
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642:http://www.ekac.org/performance.html
180:adding citations to reliable sources
453:Ronái, Cora. “A Caminhada Pornô,”
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313:(Ilustrada), February 10th, 1981.
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604:(SĂŁo Paulo: Iluminuras, 2001).
538:(SĂŁo Paulo: Iluminuras, 2001).
293:, which he published in 1983.
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576:, March 15, 1982, p. 45.
100:National Museum of Fine Arts
75:Kac and Trindade wrote the
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264:HĂ©lio Lete (HĂ©lio Leites)
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581:Antologia do Poema PornĂ´
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58:Pelo Topless Literário
289:in his artist's book
138:Losing the Human Form
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