However, Djanira's work has also been considered to be "primitive" through the eyes of critics, which has been seen as a major discourse in the field of the arts. This being because "primitive" or "naïve" art are categorizations that are considered "prejudiced and perverse"* and a reflection of "an elitist and Eurocentric perspective"* where any art that does not fall under the "eurudite style and taste"* were seen as primitive and consequently not of worth. Through the creation of this exposition, MASP has made sure to redirect the judgments and misinformations of the pieces, and further highlighted the beauty that lays within it. Djanira's depiction of memory clearly demonstrates the beauty as well as lack of recognition that Brazilian culture and history withholds, highlighting its urgent need for visibility.
*https://masp.org.br/exposicoes/djanira-a-memoria-de-seu-povo
Rivane Neuenschwander is an artist from Belo Horizonte (MG) that works with Brazilian Conceptualism through narratives about "language, nature, geography, the passing of time and social interactions."* Furthermore, in the expostion "First Love" (2005) Neuenschwander brought in a police sketch artist who interviewed visitors about their first loves, consequently crating these sketches which were then displaced as an art piece. Through this work, the artist brings forth the idea of identity and vulnerability, but at the same time creating a sense of nostalgia over these sweet memories from strangers. By making a piece so impersonal but simultaneously extremely personal, Rivane Neuenschwander depicts memory in a different however charming manner.
Aldemir Martins, Brazilian artist from Ceará, is known for his unconventional depictions of typical fauna and flora from his home state. Through the use of saturated pigments that bring vibrance and warmth, Martins creates a playful image of Brazilian culture, connecting back to child-like memories that bring hapiness and affection. Additionally, this causes the audience to feel a sense of nostalgia for these aspects of the Brazilian quotidian, even without living through it. Creating depictions of cultural wear seen below ( Baiana, 1980) but also of Brazilian folklore (Bumba meu Boi, 1981), Aldemir Martins highlights the richness of Brazilian culture consequently romanticing these memories.
