|
The Porn Art Movement (Movimento de Arte Pornô) was a transgressive Brazilian avant-garde movement that started in 1980 and ended in 1982. The movement took place under a military dictatorship and pioneered the use of pornography both as a form of political resistance and as an innovative art medium.〔Cunha, Maria C. “Arte Pornô, a última dos novos poetas.” ''Folha de S. Paulo'' (Ilustrada), February 10th, 1981.〕 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 rejected erotica, which was accepted by the dictatorship,〔''Playboy'' 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 João Figueiredo, made headlines calling for a "crusade against pornography." See: "Figueiredo convoca a nação para combater pornografia." ''Jornal do Brasil'', March 16th, 1982, p. 4.〕 and subverted the logic of pornography to create social, political and aesthetic alternatives that employed humor, scatology, surprise, poetry, performance, body politics and pansexuality. Organized and coordinated activities ended in 1982, but isolated performances were realized and publications came out until 1984. The book ''Antolorgia'', published in 1984, was the last publication of the movement.〔Kac, Eduardo; Trindade, Cairo. (orgs.). ''Antolorgia'' (Rio de Janeiro: Editora Codecri, 1984).〕 ==History== The Movimento de Arte Pornô (Porn Art Movement), also known as Poesia Pornô (Pornpoetry) or Pornismo (Pornism), was conceived by Eduardo Kac in January 1980 in Rio de Janeiro.〔 Kac, Eduardo; Trindade, Cairo. (orgs.). ''Antolorgia'' (Rio de Janeiro: Editora Codecri, 1984), p. 188.〕 Kac invited Cairo Trindade〔 Rodrigues, Dolores. “Poesia Pornô: Liberta, aberta e honesta”. ''ArteManha'', Rio de Janeiro, January/February 1982, p. 8.〕 to develop the movement together and they launched it publicly on March 30, 1980, through their Ipanema Beach intervention called ''Pelo Topless Literário'' (''Literary Topless'').〔 ''Gang'', n. 1, May 1980, p. 1.〕 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). Soon after the ''Literary Topless'' 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. Kac and Trindade wrote the ''Manifesto Pornô'' (''Porn Manifesto'') in May 1980 and first published it in the movement’s zine ''Gang'', n. 1, September 1980. The movement published a total of three editions of the ''Gang'' zine, in addition to chapbooks, stickers, t-shirts, prints, comics, artist’s books and anthologies.〔Kac, Eduardo; Trindade, Cairo. (orgs.). ''Antolorgia'' (Rio de Janeiro: Editora Codecri, 1984), p. 178.〕 Between 1980 and 1982, every Friday night The Gang performed at Rio’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 National Museum of Fine Arts. In front of a public that mixed intellectuals and popular audiences, the Gang read out loud the ''Porn Manifesto'' on September 9, 1980.〔Kac, Eduardo; Trindade, Cairo. (orgs.). ''Antolorgia'' (Rio de Janeiro: Editora Codecri, 1984), p. 176.〕 The selection of Cinelândia was also a strategic maneuver, since it is the heart of Rio de Janeiro. On February 13, 1982, the Gang presented its last major public intervention, which took place in Ipanema Beach’s Lifeguard Post 9.〔Kac, Eduardo; Trindade, Cairo. (orgs.). ''Antolorgia'' (Rio de Janeiro: Editora Codecri, 1984), p. 177.〕 This event, which Kac considers the formal end of the movement,〔Kac, Eduardo; Trindade, Cairo. (orgs.). ''Antolorgia'' (Rio de Janeiro: Editora Codecri, 1984), p. 189.〕 mobilized 9 performers, explored the entire repertoire developed during the preceding two years, included a wide array of props and publications, climaxed with a nude demonstration along the beach (which was and still is forbidden by law〔In 2011, Rio de Janeiro Police arrested three Dutch tourists for being naked in Copacabana Beach. ()〕), 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.〔Ronái, Cora. “A Caminhada Pornô,” ''Pasquim'', n. 660, February 18th to 24th, 1982, p. 6.〕 The videographer Belisario Franca, then a photographer, accompanied The Gang between 1980 and 1982, producing photographic documentation of many of its interventions. 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 ''Destricted''.〔The DVD compilation ''Destricted'' 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.〕 The movement started to be rediscovered in 2010, when the Laura Marsiaj Gallery, in Rio de Janeiro, exhibited Eduardo Kac’s series entitled ''Pornogramas'' (''Pornograms''), developed by the artist between 1980 and 1982.〔() ; ()〕 The first museum exhibition of the Brazilian Porn Art Movement took place at the Reina Sofía Museum, in Madrid, in the context of the group show ''Losing the Human Form'', realized in October 2012.〔()〕 The museum published a catalogue that features the movement.〔Nogueira, Fernanda; Henaro, Sol. “Overgoze,” in: ''Vv.Aa., Perder la forma humana. Una imagen sísmica de los años ochenta en América Latina'' (Madrid: Museo Reina Sofia, 2012), pp. 199-203.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Porn Art Movement」の詳細全文を読む スポンサード リンク
|