Order from: Forced Exposure, USA; SoundOhm, Italy; a-musik, Germany; Staalplaat, Germany; Metamkine, France; Out-of_Print!, Belgium; Discogs, worldwide.
Eduardo Kac, Pornéia, a vinyl LP released by alga marghen, Milan, 2016.
Side A (single sided)
01. Poema flatográfico para três cus submersos em memória de Joseph Pujol
03. Poema flatográfico para improviso de violino em ré menor e feijoada completa
07. Johnson & Johnson
08. Bola de Cristal
11. Nossa Senhora da Sacanagem
12. O Urubu
13. Osma Pessa
14. Batom Marrom
17. Cabeça Feita
18. Manifesto Pornô
19. Sem Título (Cu Cura Cuca Cara)
20. Poema flatográfico para acompanhar
Tracks 04 to 08 recorded live in Ipanema Beach, Feb 13th, 1982. All other tracks recorded in Chicago, 2012/2013.
Producer: Emanuele Carcano
Released by alga marghen, 2016, in an edition of 270 copies.
FROM THE BACK COVER
These previously unissued recordings from the Porn Art Movement (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