But the innovating part of the event, proposing to leave the conventional format, lies in the intention of being a true laboratory of the arts. It will end also contributing with a product with spectacle characteristics and without a doubt being a promotional modality of transformation in the conception of the artistic question for this new millennium.

Excentra, as a concept, makes reference to a escape of the center. This has been the characteristic tension of the Art in history. The nature of the Art has been and is the creation, the innovation, the originality, the rupture, the transgression. The center represents the established, the conventional, therefore the creative force proposes the exploration in the margins of the already known territory. The center is constituted, by the pre-conceptions that we handle around of what the art is, and that the art itself takes care to reformulate, to transgress, to put at issue; in some way according with Joseph Kosuth: "...the art is the definition of the art..."

As well as the art has escaped from the object to the concept; of the classic categories to the sprouting of new categories or to the dissolution of them; towards new forms of conception of the responsibility and relationship of the artist with its public.

Thus also escaping towards the exotic to the use of the vanguards of century principle... In the same way Excentra sets out and proclaims event of the Arts in process and progress, a new context of production, the artistic practice as an event, beyond products and protagonists; redimensioning the conditions of reception of works and the relationship of the public with these and the authors.

Excentra, transforms to the city/town/habitat in atelier, in a laboratory of the Arts, where the inhabitants and the visitors have the opportunity of turning from
spectators to participants, according to different modalities of permanent interaction.

Each workshop will be developed with the protagonism of artists and specialists, who will orchestrate the activities, jointly with the participants, during the period that lasts Excentra.

The in progress and process condition implies transformations during the process of execution of the project, being the own recollection of this one, part of the product.
Other workshops can get up on the march as required by local or foreign artists.

The final product, is conceived, in its dimension of spectacle, like a Biennial of traditional art as much in its monumentality and aesthetic quality, like in its potential of picking up interest of the public and the international artistic community.
By a side we understand interesting to introduce the modality that was
adopted in other international events, which have signed in a particular way the urban space, as scope of encounter of the individual with the Art; an interaction of the art with the daily life. The truly innovating part of Excentra is that it opens the
possibility that the products of the traditional system of arts, arise from dynamic from workshop propose by artists or curators, with the participation of other artists or other protagonists who understand that in each case can or must take part, (including the own public) and the projects are elaborated exclusively for the call and they are executed within the time that lasts the event. Depending on the characteristics of the workshops some activities they could begin before the established period so they take place at Excentra.

The present condition of the Art causes that their proposals are opened to interdisciplinary integration, at the same time which also opens to the investigation, speculation and reformulation of the classic.

Permanent samples in the style of the halls, as well as workshops in execution, and events that will take place in the urban space or closed locals, possibly traveling events, that will fill of colorful daily living, they will urge the reflection and the aesthetic benefit to those who have the opportunity to live this event.

Excentra is an event of the visual arts, that involves all the orders of the citizen life, causing and motivating local people, in the inherent thing to its reality, its identity and to the image that creates or tries to project to those of outside. It is an event trigger and its reach extends the one of a space where the art is if same or it is watched in the mirror. The proposal is to go beyond, in a format of extensionist type, of sensibilization of the local population, to promote its creativity, to incursion in diverse challenges to discover and to expand the own potential.
All it reuniting a team of academic specialists and, the premises and foreigners with those who we worked years ago and that will make their accomplishment possible.

In the dimension of the cultural democratization, Excentra do not afiliate exclusively to the concept of which this one happens to make the cultural goods to the greater amount accessible of possible population, (in such case the works of art made by artists of reputation), but also it includes in its conception of cultural democracy, to the inherent thing to the access of the citizen to the own production of the cultural good. In such sense, the dynamics of Excentra contemplates it, without the artist of reputation loses his condition of so, but promoting new concepts and new reflections and at the same time generating new challenges, as much for the artist as for the society.


About Excentra.

Searching for keys for the democratization of art, can mean, to face against the discovery, of which if a true Art exists, it should be accessible to all men, and this access is through humanization. The history of the Art, can be perceived, doubtlessly, as the study of the process of accumulation of proposals, represented by works and artists of different times. But also can be like the process of the construction of the glance of our culture.

In this glance that the art has constructed, fundamentally in the contemporary proposals, it is ended up translating the necessity of the human being, to sublimate every moment, each event; from most excellent to most trivial; everything, absolutely everything, is susceptible to be transformed into art work. And is it not through the humanization process, that the individual tends to recognize the sublime of every moment of the life that has been given him? It is not through this process that the human being can recognize the amazing of each aspect of the creation, no matter how small this one is?

If this is thus, it could be a good proposal, to do of our glance, of the own reception, the object. Because perhaps the subliming pulse of the art has a different structure, to that process that takes to the humanized man, to be at every moment of its life with it sublimates it. If something had of sublime in being shot, perhaps not outside the fact that the execution has been represented by Goya. If something had of sublime in being shot, surely outside it what one stands out in the crucible of the artist when its work is developed.

There Excentra goes; to put the accent in from where, more than in what. Even though what one takes place arises from the flight of the center.

Through the projects of Excentra, everything is unbuilded; only a reception form is conserved: the one in the Visual Arts; actually: everything transforms.

From the kitchen of Leonardo to the Cock- art, Food-performance and other modalities of ephemeral art.

The space of the gastronomy, it was at its moment, object of speculation on the part of Leonardo Da Vinci, like more of its innumerable facets. These incursions of the famous artist constitute source of inspiratio for a series of proposals and investigations, from which it appears the promise of new categories that are opened like possibilities for the creation; for new explorations of our sensitivity and our culture.
Finally, a dimension different in the encounter from the receiver with the
work. The public not only contemplates it from the visibility, but is invited to taste the works. Thus, from the horizon of reception of the visual arts, the boarding of this new support and this differentiated quality from aesthetic events takes place.

Uruguay
Clemente Padín
Federico Arnaud
Rulfo
Andrés Rubilar
Carlos Pellegrino
Tamara Cubas
Cecilia Mattos
Carlos Barea
Grupo O.S.
Clever Lara
Gustavo Alamón.
Enrique Aguerre
Fernando Alvarez Cozzi

España
Joan Casellas (Barcelona)
Angel Pastor (Barcelona)
Vicente Pastor (Asturias)

Argentina
Daniel Acosta (Buenos Aires)
Gabriela Alonso (Buenos Aires)
Silvio de Gracia (Buenos Aires)
Martin Molinaro (Rafaela)

Brasil
Paula Darriba

Chile
Guillermo Cifuentes (Santiago)
Sara Malinarich (Santiago)
Humberto Nilo (Santiago)
Enríque Ramírez (Santiago)
Nilda Saldamando (Santiago)
Manuel Terán (Santiago)

Polen
Pawel Kwasniewski (Warszawa)

Sweden
Juan Castillo (Chile-Sweden)