24/10/2012 | Blog Debora Tessler | 19 June 2012 – Coloured Innocence of Naïve Art | By Raquel Chamis

June 19, 2012. By Raquel Chamis. They say that naïve art is like a state of spirit, or that those who execute this form of art are “anarchist poets of the paint brush”. In the opinion of Alessandro Mendini, an Italian architect, this art has “strong ties to the hypersensitivity of the heart”. The fact is that this group of artists has spontaneity and free strokes, as, indeed, the terms “primitive” or “innocent” – often taken as synonyms with naïve art – easily suggest. The Cartier Foundation for Contemporary Art brings together, in the exhibition called Stories of seeing, showing and telling, over 50 artists from different parts of the world who work with this kind of artistic aesthetics. With some 400 works of art, the intention of the curatorship here is to show the common features between work from places so far apart: abundant colours, distorted perspectives and, particularly, the quest for the imaginary as a source of inspiration. What not many people may know is that the most complete museum dedicated to naïve art is much closer to home than Paris: right on Cosme Velho Street, close to the Corcovado Train Station. Rio de Janeiro is the venue of the International Naïve Art Museum (Museu Internacional de Arte Naïf – MIAN) which brings together a collection of over 6,000 works of artists from the whole world. Founded in 1995 by franco-carioca Lucien Finkelstein, who has travelled to all five continents to obtain items for the collection, MIAN went through difficult times, mainly arising from lack of sponsorship. Then it was flooded, then closed and largely forgotten, until the granddaughter of the founder decided to take over the premises, giving it a new lease of life. Thanks to the efforts made by Tatiana Levy, the museum was reopened this year and now wants to get established as a point of interest for tourists who come over to the city of Rio de Janeiro, to add onto their next tour around the Marvellous City. Source: Débora Tessler .

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