sábado, 10 de janeiro de 2015

16 aerial riverscapes that will make you want to fly

The Making of the 5 Year Plan Project Lecture by Aaron Sinift - Presented by The Printing Museum (formerly Museum of Printing History) at The Printing Museum (formerly Museum of Printing History)

  The Printing Museum presents The Making of the 5 Year Plan Project: Lecture by Aaron Sinift on January 10.






In his lecture, "The Making of the 5 Year Plan Project; artists collaborating with Gandhi Ashrams in India," creator Aaron Sinift will discuss his journey from the New York art world to India in search of Gandhi ashrams collectives, and how he instigated a DIY international artist collaboration to serve Doctors Without Borders.




The Making of the 5 Year Plan Project Lecture by Aaron Sinift







Sinift will also introduce OTHER IMAGININGS, the current book project underway with three ashrams in Northern India. These projects use Fluxus strategies of collaborative play to create art editions that are consistent with Gandhian ideals of self-sufficiency (swadeshi) and selfless service (seva) in honor of Gandhi, creating thousands of days employment to poor villagers and building cooperative relationships of mutual trust and love.
fonte: @edisonmariotti #edisonmariotti  For more information: http://5yearplan.org/

Urban Solutions for the World in 2030 - The Museum of Modern Art’s Uneven Growth: Tactical Urbanisms for Expanding Megacities is the culmination of a 14-month initiative to address developing problems —

Around the world people are rapidly moving to cities in an incredible manifestation of consolidated growth. The Museum of Modern Art’s Uneven Growth: Tactical Urbanisms for Expanding Megacities is the culmination of a 14-month initiative to address developing problems — from affordable housing to the limits of available land — in six of those cities, by involving the communities most impacted.

Istanbul: Tactics for Resilient Post-Urban Development. 2014. KITO compound. Courtesy Atelier d’Architecture Autogérée
Istanbul: Tactics for Resilient Post-Urban Development (2014): KITO compound (courtesy Atelier d’Architecture Autogérée)

According to the UN’s World Urbanization Prospects report, by 2030 the global population is expected to surpass eight billion. Uneven Growth emphasizes that around two-thirds of those people will be living in cities, with many in slums and unplanned neighborhoods. The exhibition, which opened in November, showcases proposals for New York City, Mumbai, Rio de Janeiro, Istanbul, Hong Kong, and Lagos. Each was created by a team of architects, planners, and designers in an attempt to examine how “tactical urbanism” — an aggressive term for DIY and grassroots city planning — could be encouraged.
'Uneven Growth: Tactical Urbanisms for Expanding Megacities' at MoMA (photograph by the author for Hyperallergic)
Installation view, ‘Uneven Growth: Tactical Urbanisms for Expanding Megacities’ at the Museum of Modern Art (photo by the author for Hyperallergic) (click to enlarge)
For Hong Kong, where open space is scarce, MAP Office and Columbia University’s Network Architecture Labpropose adding manmade islands to the over 250 landforms already clustered there. Similarly, NLÉ and Zoohaus/Inteligencias Colectivaslooked at the water life of Lagos, particularly the Makoko slum, where tens of thousands of people live in floating housing on a polluted lagoon, and theorize about adding “energy islands” as a renewable resource, as well as improved homes and community centers. NLÉ has actually already implemented one aspect of this: its Makoko Floating School prototype built from bamboo.
DIY building in Mumbai is taken up by URBZ and Ensamble Studio/MIT-POPlab, particularly in making the city’s small-scale “tool houses” into multilevel high rises, bringing marginalized neighborhoods up instead of destroying them for new development. Vertical growth is also central for Istanbul and New York City: Superpool and Atelier d’Architecture Autogérée consider how the Turkish TOKI housing developments could be reimagined as hyperlocal alternative economies through car sharing, urban farms, and other bartering; SITU Studio and Cohabitation Strategies rethink the “Other New York,” where illegal conversions are already taking place in affordable housing, and instead suggest a cooperative that could use air rights as leverage to build vertically, with cohabitation and shared community space. The only proposal that seems bit out on its own is RUA Arquitetos and MAS Urban Design‘s for Rio de Janeiro, which advocates “puxadinho” — add-ons that enhance existing buildings with repurposed leftover material — as a source of entrepreneurship for the growing favela middle class.
The Carioca Way of City Making. 2014. Varanda Products panorama. Courtesy RUA Arquitetos and MAS Urban Design, ETH Zurich
The Carioca Way of City Making (2014): Varanda Products panorama (detail) (courtesy RUA Arquitetos and MAS Urban Design, ETH Zurich)
The exhibition itself consists mostly of the text for the proposals and some scattered video screens, the walls covered with maps and photographs. It’s a little hard to navigate and would have benefited from a stronger narrative unifying the ideas, since none of them is completely isolated. As MoMA curator Pedro Gadanho writes in the accompanying catalogue: “Even if they offer only acupunctural outlooks on how change for the better could be induced in diverse urban contexts, they aspire to solutions that could be replicated in different contexts.” More engaging is the interactive online site, where theUneven Growth proposals are joined by complementary ideas for a more diverse cross-section of urban centers. While incredible government support and funding would be needed to really implement any of these ideas on a large scale, it’s worth continuing the conversation on how to address growth by bolstering solutions formed in the communities themselves.
Hong Kong Is Land. 2014. The Island of Surplus. Courtesy MAP Office
Hong Kong Is Land (2014): The Island of Surplus (courtesy MAP Office)
Lagos Tomorrow. 2014. Water. Courtesy NLÉ and Zoohaus/Inteligencias Colectivas
Lagos Tomorrow (2014): Water (courtesy NLÉ and Zoohaus/Inteligencias Colectivas)
Reclaiming Growth. 2014. Perspective of Mumbai with ultra-light growth and supragrowth. Courtesy Ensamble Studio/MIT-POPlab
Reclaiming Growth (2014): Perspective of Mumbai with ultra-light growth and supragrowth (courtesy Ensamble Studio/MIT-POPlab)
The Other New York. 2014. Community Growth Corporation infill typology. 2014. Courtesy SITU Studio
The Other New York (2014): Community Growth Corporation infill typology (courtesy SITU Studio)
'Uneven Growth: Tactical Urbanisms for Expanding Megacities' at MoMA (photograph by the author for Hyperallergic)
‘Uneven Growth: Tactical Urbanisms for Expanding Megacities’ at MoMA (photo by the author for Hyperallergic)
Uneven Growth: Tactical Urbanisms for Expanding Megacities continues at the Museum of Modern Art (11 West 53rd Street, Midtown West, Manhattan) through May 10. 

fonte: @edisonmariotti #edisonmariotti http://hyperallergic.com/173871/urban-solutions-for-the-world-in-2030/

Exhibition of paintings by Mexican artist Edgardo Navarro on view at Michel Rein in Paris More Information: http://artdaily.com/index.asp?int_new=75520&int_sec=11#.VLFf72NCqFw[/url] Copyright © artdaily.org

PARIS.- Edgardo Navarro’s paintings invite us on a strange journey into a history of art echoing that of great history. Is it because the modern world with its electronic data and money transfers cannot be easily represented, or is it simply that stories of renegades and spies in prewar Europe or during the cold war offer better food for thought, that this artist weaves his work like a patchwork of stories… In this open story, where each painting would come to enrich a new episode or a new turn of events, one imagines identifying wise men or magnates who have escaped from a studio in Babelsberg or Billancourt in order to ally with South American dictators or masters of the world hidden behind sunglasses. 



In the midst of this theatre, the figure in counter relief or subjective camera, a Tintin and Burroughs fuelled hero endeavouring to unveil the secret even if it meant biting into a mushroom and seeing his image disappear in a mirror, or watching, fascinated, as spells are cast on bizarre characters. 

The precision in the depiction of architectural or clothing details enforces the marvellous character of this swaying from a timeless reality to an unknown destination. Taking a different approach, one could say that Navarro is drawing a not so straight path between Neue Sachlichkeit and metaphysical painting and more generally, through these pictorial currents which have long been overshadowed by the firing power of modernism. 

However these paintings also bear witness to a fascination for enigmatic Renaissance paintings (when ambassadors also wore fur coats), at the same time reporting a flat reality in ochre, brown and black tones over which he passes his spotlight; unless these circles of light are a reminder of magic lantern sessions. 

Saturn, as seen through electronic telescopes comes loose from a black sky and lights up a heap of paving stones placed on the floor of an apartment. Is it the upsurge of a common rumour or an improvised monument to lost revolutions? The blind with its unaligned slats, superfluous in appearance, is in fact the essential accessory to anchoring this modern melancholy in banality. 

Behind this fantasy made of back to back tales, one can also read the artistic path of a Central American who was taught in Leipzig and maybe this same path constitutes a large part of the subject matter. This very real artist is also a witness to the fictions he invents and to which he partially belongs. Edgardo Navarro (b. Mexico, 1977) lives and works in Paris. Graduated (DNSAP cum laude) from the Villa Arson, Nice and School of Fine Arts in Leipzig where he studied with Neo Rauch. Past exhibitions include Salon de Montrouge (2008), « Prisoners of the Sun » at le Plateau, FRAC Ile de France, Paris (2010) and « Have we been here for a long time ? » (curator Raphaël Zarka) at Michel Rein, Paris (2014).


fonte: @edisonmariotti #edisonmariotti http://artdaily.com/index.asp?int_new=75520&int_sec=11#.VLFf72NCqFw

This '4D-Printed' Dress Just Became Part Of The Museum Of Modern Art's Collection



The Kinematics dress, created by generative design studio Nervous System, is, in all cliches, not your average piece of fabric. For starters, the Museum of Modern Art recently acquired the fashionable objet d'art, along with the app that goes with it, adding it to the institute's growing collection of contemporary design products. Secondly, the dress is made from four dimensional printing technologies, meaning it's a 3D-printed object meant to "change shape or automatically reassemble" according to its environment.


Nervous System (est. 2007), Jessica Rosenkrantz (American, born 1983), Jesse Louis-Rosenberg (American, born 1986). Kinematics Dress. 2013. Laser-sintered nylon. Image courtesy of Steve Marsel. The Museum of Modern Art, New York. Committee on Architecture and Design Funds.

"We refer to Kinematics as a 4D printing system because it generates compressed objects that unfold into their intended shape after printing," creative director Jessica Rosenkrantz told Dezeen. "The garments that we've designed can only expand to their full size after being removed from the printer and they do so automatically, no assembly is required."


The dress is composed of thousands of interlocking pieces (2,279 unique triangular panels interconnected by 3,316 hinges, to be exact), taking the shape of a single folded nylon garment. The dress is entirely customizable, and is able to conform and move according to a body's flexibility. "This textile is not uniform," Nervous System explains, "it varies in rigidity, drape, flex, porosity and pattern through space."

The coordinating app allows anyone to design a Kinematics work, printed by Shapeways, "from an uploaded 3D body scan, selecting the size and shape of the modules and 'painting' them onto the dress or skirt in real-time," C-Net writes. Not only are the resulting garments verifiable works of art, they are part of a movement that seemingly democratizes the way we produce boundary-pushing fashion.


The Kinematics dress will go on view at MoMA as part of the upcoming "This Is for Everyone: Design Experiments for the Common Good," debuting on February 14, 2015. The title of the show takes its name from British computer scientist Tim Berners-Lee -- you know, the inventor of the World Wide Web -- who tweeted the message as part of the Olympic opening ceremonies in London in 2012. While Berners-Lee's quote emphasizes the possibilities of information sharing across the internet, "This Is for Everyone" questions the sentiment through a series of design products that challenge the universality of that potential.

"We sometimes forget that new technologies are not inherently democratic," MoMA wrote in a press release for the exhibition. "Is design in the digital age -- so often simply assumed to be for the greater good -- truly for everyone?"

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  • EyeWriter
    Zach Lieberman (American, b. 1977), James Powderly (American, b. 1976), Evan Roth (American, b. 1978), Chris Sugrue (American, b. 1978), TEMPT1 (American), and Theo Watson (British, b. 1981). EyeWriter. 2009. openFrameworks and custom software, eyeglasses, PlayStation Eye camera, IR pass filter, IR LEDs, battery clip, resistor, zip ties, and metal wire. 7 7/8 x 5 7/8 x 1 15/16″ (20 x 15 x 5 cm). Image by the EyeWriter Team. The Museum of Modern Art, New York. Architecture & Design Purchase Fund, 2011.
  • Arduino “Diecimila” Microcontroller
    Massimo Banzi (Italian, born 1968), David Cuartielles (Spanish, born 1974), Tom Igoe (American, born 1967), Gianluca Martino (Italian, born 1973), David Mellis (American, born 1980), Giorgio Olivero (Italian, born 1975) . Arduino “Diecimila” Microcontroller. 2004‑2005. Electronic components. 2.7 x 2.1″ (5.3 x 6.9 cm). The Museum of Modern Art, New York. Gift of the designers
  • DIY Gamer Kit
    Technology Will Save Us (est. 2012). DIY Gamer Kit. 2013. Circuit board, electronic components, LED screen, open-source software library. Assembled kit: 4 1/2 × 2 3/4 × 2 1/4″ (11.4 × 7 × 5.7 cm), Box: 5 7/8 × 8 × 2 1/4″ (14.9 × 20.3 × 5.7 cm). The Museum of Modern Art, New York. Gift of the designers
  • Endless Flow Rocking Chair
    irk Vander Kooij (American, born 1983). Endless Flow Rocking Chair. 2011. Recycled plastic. 31 1/2 x 16 9/16 x 26 3/4″ (80 x 42 x 68 cm). The Museum of Modern Art, New York. Architecture & Design Purchase Fund.
  • My New Flame Lamp
    Moritz Waldemeyer (German, born 1974), Manufacturer: Ingo Maurer GmbH, Germany (est. 1966). My New Flame. 2012. Plastic, LEDs and chromed steel. Base: 1 × 3 3/4 × 3 5/8″ (2.5 × 1.9 × 9.2 cm), Light element: 16 3/4 × 1 × 1/8″ (42.5 × 2.5 × 0.3 cm). The Museum of Modern Art, New York. Gift of the manufacturer.
  • Color Chaser
    Yuri Suzuki (Japanese, born 1980). Color Chaser. 2010-2013. Plastic and electronics components. 1 15/16 × 5 1/16 × 5 1/16″ (5 × 12.8 × 12.8 cm). The Museum of Modern Art, New York. Gift of the designer.
  • Bioresin and cherry wood barstool
    Marjan van Aubel (Dutch, born 1985), James Shaw (British, born 1987), Transnatural (est. 2009), Arjen Bangma (Dutch, born 1976). Well Proven Stool. 2014. Bioresin and cherry wood. Barstool: H 790 x L 400 x W 350mm, Stool: 640 x L 400 x W 350mm. The Museum of Modern Art, New York. Committee on Architecture and Design Funds. Image courtesy of Floor Knaapen.
  • Multi-material 3D Bitmap Printer
    Neri Oxman (American, born Israel 1976), Mediated Matter Group (est. 2010), Massachusetts Institute of Technology, Cambridge, MA (est. 1861), W. Craig Carter (American, born 1961), MIT Materials Science and Engineering (est. 1974), Stratasys (est. 1989). Imaginary Beings (Medusa 2). 2012. Objet Connex500 Multi-material 3D Bitmap Printer, colored digital powders & materials. The Museum of Modern Art, New York. Committee on Architecture and Design Funds
  • Concept and initial design by Yuri Suzuki (Japanese, born 1980). Development and design by Dentaku Ltd of Mark McKeague (Irish, born 1989), Joseph Pleass (United Kingdom, born 1990) and Yuri Suzuki. Illustration by Naomi Eliott (United Kingdom, born 1987). Manufactured by Dentaku Ltd. Ototo. 2013. Printed circuit board. 4 1/2 × 2 15/16 × 3/8″ (11.5 × 7.5 × 1 cm). The Museum of Modern Art, New York. Gift of the designers.
  • Jay Silver (American, born 1979) and Eric Rosenbaum (American, born 1979). MaKey MaKey. 2012-2014. Electronic components. 9 x 3.8 x 1.8” (22.9 x 9.7 x 4.6 cm). Image courtesy of JoyLabz. The Museum of Modern Art, New York. Gift of JoyLabz.

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You can see a preview of the other pieces on view in the exhibition below.
fonte: @edisonmariotti #edisonmariotti  http://www.huffingtonpost.com/2015/01/09/kinematics-dress_n_6439750.html 

Martin Lawrence Galleries New York presents a selection of rare works by Andy Warhol

NEW YORK, NY.- On January 8th Martin Lawrence Galleries New York will present a selection of rare works from their extensive Andy Warhol collection. The exhibition, spanning across their two floor gallery space in SoHo, will include nearly a dozen unique works on paper, an incredibly rare handmade collage of Mick Jagger, a black Marilyn Monroe as well as the complete 8 piece Camouflage suite from 1987. 



"I’d asked around 10 or 15 people for suggestions. Finally one lady friend asked the right question, “Well, what do you love most?” That’s how I started painting money." - Andy Warhol 




Martin Lawrence Galleries has likely the largest private holding of Warhol prints of any gallery, and produced the artist's famous Campbell's Soup Box series in 1984. The company’s collection is set apart by it's focus on Warhol's unique prints, notably the Trial Proofs, which were created for just a short number of years before the artist's untimely death in 1987. During the 1980s Warhol produced unique color variations of the famous multiple prints he was creating, realizing his collectors sought to own things that no one else had. In some cases he would print a subject in only unique variations (no multiples/regular edition) such as the $(9) prints where no two of the prints where ever the same. Four of those unique $(9)’s are owned by Martin Lawrence Galleries and two of these will be prominently displayed in the exhibition. 




Other highlights include an exemplar unique Ingrid Bergman (Casablanca) from 1983. With a solid gold metallic face, rose bud lips and rainbow rolling (where the colors in the line work shift as they progress across the page) she is likely the finest variation of this work ever to have been displayed in the company's 40 year history. The Ingrid Bergman suite is also the only series known to have a book dedicated solely to the best of the trial proofs Warhol created of the image and the one exhibited is featured within. 




On display as well will be works from Andy Warhol’s Cowboys & Indians suite, an homage to the epic version of Western history. Most of the images within the ten-piece suite are of actual historical figures (Sitting Bull, Geronimo, General Custer, Teddy Roosevelt etc) aside from John Wayne who Warhol chose to cap the suite as the mythical figure of the American Cowboy. His decision was typical of his sharp sense of humor and ironic lean. In the show, facing the unique John Wayne, is a unique trial-proof of Annie Oakley, one the globally ! dominant gun slinger at 4 foot ten inches tall, where the other near twice her size, merely played one ‘in the movies', yet of course both cultural heroes and icons of The West. 




The entire vibrant Camouflage suite will provide the visual focal point of the exhibit. Late in his life Warhol began experimenting with camouflage, taken by it's supposed ability to conceal. In typical Warhol fashion he changed the dynamic of the pattern, rendering it in bright luminous colors to defy its original intention. As opposed to offering concealment the works cry out for attention and when displayed in their entirety create an eye popping show. An ironic Pop masterpiece.

fonte: @edisonmariotti #edisonmariotti http://artdaily.com/index_iphone.asp?int_new=75558&int_sec=2#.VLFdNmNCqFw

Charlie Hebdo: des expositions spontanées partout en France


En réaction à l'attentat perpétré contre Charlie Hebdo le 7 janvier, plusieurs musées français ont tenu à rendre hommage à l'hebdomadaire satirique, à ses illustrateurs décédés Cabu, Charb, Honoré, Tignous, Wolinski et Honoré, ainsi qu'à l'ensemble des victimes. Des expositions spontanées se sont organisées à travers la France, dans des musées, des mairies, sur des places.



De nombreux établissements de l'Hexagone ont décidé d'honorer la mémoire des dessinateurs de l'hebdomadaire satirique.

● Paris

Après avoir élu Charlie Hebdo, citoyen d'honneur de la Ville de Paris, la Mairie de Paris éditera un livre avec les dessins qu'a fait Cabu pour le journal municipal et organisera une exposition avec les dessins de l'hebdomadaire satirique.

La bibliothèque Kandinsky, située au sein du Centre Pompidou, a décidé de consacrer une exposition aux débuts de l'hebdomadaire satirique, de 1969 à 1986. «C'est une décision collégiale et collective de la bibliothèque, un petit geste mais qui dit combien nous sommes bouleversés par ce qui s'est passé», a expliqué son directeur Didier Schulmann aux Inrockuptibles. «La bibliothèque Kandinsky possède la collection complète des Charlie Mensuel, sur une période qui va de 1969 à 1986, et nous avons donc choisi d'en montrer quelques-unes, en manière d'hommage.»

Bruno Racine, le président de la Bibliothèque nationale de France a souhaité projeter une grande image du dessin intitulé Adieu, où Wolinski avait fait son autoportrait. Celui-ci avait fait un don exceptionnel de ses œuvres à l'institution, qui lui avait consacré en 2012 une rétrospective de ses 50 ans de dessins.

● Île-de-France

Outre une exposition consacrée à Tignous le 9 janvier place Jean-Jaurès à Montreuil, le musée de l'Histoire vivante de la ville rendra hommage à l'hebdomadaire satirique: «Malgré les drames, la vie doit continuer. Charb, Tignous étaient des amis du musée de l'Histoire vivante, la bande de Charlie Hebdo nous avait prété des dessins pour l'exposition Patrons et ouvriers. Charb avait le projet d'un livre sur les objets du communisme qui avait aussi été l'un des thèmes de l'une de nos expositions; il s'était rendu au siège du PCF et allait retourner au musée pour prendre connaissance de nos collections. Le plus grand des hommages qu'on peut leur rendre est de continuer à résister, de ne pas verser dans l'autoritarisme et de porter haut le combat de l'émancipation. Je vous invite donc à notre nouvelle exposition qui rend compte du combat universel des femmes pour leur libération».

Une exposition spontanée a été également conçue à la mairie de Bobigny.

● Languedoc-Roussillon

Les Croquignous, qui organisent chaque année le Festival de la caricature et du dessin de presse de Castelnaudary, ont décidé de rendre ce week-end un hommage aux dessinateurs assassinés et particulièrement à Tignous, grand fidèle du festival et dernier lauréat du prix du public lors de l'édition 2014. L'exposition Merci Tignous! présentera les derniers dessins du caricaturiste, des hommages rendus par des dessinateurs et des photos des festivals auxquels il a participé.

● Ain

Les vingt-huit panneaux de l'exposition Charlie Hebdo de 1970 à 1982, réalisée en 2011 à la demande de la Ville de Bourg-en-Bresse, ont été raccrochés jeudi 8 janvier dans le hall d'accueil du salon des mariages de l'hôtel de ville.





● Alsace

Au musée Tomi Ungerer-Centre international de l'illustration (Strasbourg), une exposition sera organisée du samedi 10 au dimanche 18 janvier 2015. Cet hommage prendra la forme d'une présentation de numéros historiques d'Hara-Kiri et de Charlie Hebdo, de quelques dessins originaux des illustrateurs disparus et de documents audiovisuels. Cette exposition sera inaugurée par Alain Fontanel, premier adjoint au maire en charge de la Culture, ce vendredi 9 janvier à 19h, et sera gratuite samedi et dimanche.

● Quant au musée Raymond-Lafage de Lisle-sur-Tarn (81), il est sous le choc. Quatre expositions de dessins de Charlie Hebdo, ont été organisées entre 2008 à 2012 dans ce village du Midi-Pyrénées qui considérait les caricaturistes de l'hebdomadaire satirique comme des membres de leur famile.


fonte: @edisonmariotti #edisonmariotti http://www.lefigaro.fr/culture/2015/01/09/03004-20150109ARTFIG00137--charlie-hebdo-les-musees-francais-se-mobilisent.php

Comissão de Cultura destina R$ 5 milhões para Embratur incrementar divulgação turística do Brasil

A Comissão de Cultura da Câmara dos Deputados destinou para a Embratur (Instituto Brasileiro de Turismo) um total de R$ 5 milhões para incrementar a divulgação do Brasil como destino turístico de cultura durante o ano de 2015.

De acordo com a deputada Alice Portugal (PCdoB-BA), presidenta da Comissão, o objetivo desta verba é de ampliar o acesso à cultura brasileira, destacando o modo de viver da população, a literatura, os museus, e as comemorações presentes no País. Visto isso, o turismo é considerado um instrumento fundamental para divulgar e impulsionar o público a experimentar as peculiaridades de cada destino.

“A diversidade cultural brasileira é um dos atrativos mais requisitados pelos visitantes internacionais que desembarcam no País e este reforço no orçamento nos permitirá potencializar a divulgação do segmento para o mundo”, afirmou Vicente Neto, presidente da Embratur.

Uma pesquisa realizada pelo órgão mostrou que a principal atividade de lazer do turista que veio para a Copa das Confederações, em junho de 2013, foi cultural e que, entre um jogo e outro, o estrangeiro optou por visitar museus, monumentos e bairros históricos.

O estudo revelou ainda, que bairros históricos foram procurados por 50,8% dos visitantes estrangeiros. Em segundo lugar, com 39,5%, estão os museus, casas de cultura e exposições. Cerca de 40% dos turistas estrangeiros optaram por passeios em monumentos. Os shows e espetáculos foram assistidos por 15,5%.

fonte: @edisonmariotti #edisonmariotti  ww.embratur.gov.br