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Internacional Arts Laboratory
TACUAREMBO, URUGUAY : 19 - 25 september
Excentra is not an event of the arts of conventional type, like a bie=
nnial or the traditional arts hall. We did not exclude that a part of it ha=
s characteristics of a traditional event, and perhaps this operates as a fo=
rm of conceptual anchorage from conceivable codes for the public.
But the innovating part of the event, proposing to leave the conventi=
onal 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. Th=
is 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 con=
ventional, therefore the creative force proposes the exploration in the mar=
gins 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 itse=
lf takes care to reformulate, to transgress, to put at issue; in some way a=
ccording with Simon Marchan Fiz: "…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 dissolutio=
n of them; towards new forms of conception of the responsibility and relati=
onship 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 artis=
tic practice as an event, beyond products and protagonists; redimensioning =
the conditions of reception of works and the relationship of the public wit=
h these and the authors.
Excentra, transforms to the city/town/habitat in atelier, in a labora=
tory of the Arts, where the inhabitants and the visitors have the opportuni=
ty of turning from
spectators to participants, according to different modalities of perm=
anent interaction.
Each workshop will be developed with the protagonism of artists and s=
pecialists, who will orchestrate the activities, jointly with the participa=
nts, 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 forei=
gn artists.
The final product, is conceived, in its dimension of spectacle, like =
a Biennial of traditional art as much in its monumentality and aesthetic qu=
ality, like in its potential of picking up interest of the public and the i=
nternational artistic community.
By a side we understand interesting to introduce the modality that was
adopted in other international events, which have signed in a particu=
lar way the urban space, as scope of encounter of the individual with the A=
rt; an interaction of the art with the daily life. The truly innovating par=
t of Excentra is that it opens the
possibility that the products of the traditional system of arts, aris=
e from dynamic from workshop propose by artists or curators, with the parti=
cipation of other artists or other protagonists who understand that in each=
case can or must take part, (including the own public) and the projects ar=
e elaborated exclusively for the call and they are executed within the time=
that lasts the event. Depending on the characteristics of the workshops so=
me activities they could begin before the established period so they take p=
lace at Excentra.
The present condition of the Art causes that their proposals are open=
ed to interdisciplinary integration, at the same time which also opens to t=
he 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 loc=
als, possibly traveling events, that will fill of colorful daily living, th=
ey 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 t=
o 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 sensib=
ilization 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 acc=
omplishment possible.
In the dimension of the cultural democratization, Excentra do not afi=
liate exclusively to the concept of which this one happens to make the cult=
ural goods to the greater amount accessible of possible population, (in suc=
h case the works of art made by artists of reputation), but also it include=
s in its conception of cultural democracy, to the inherent thing to the acc=
ess of the citizen to the own production of the cultural good. In such sens=
e, the dynamics of Excentra contemplates it, without the artist of reputati=
on loses his condition of so, but promoting new concepts and new reflection=
s 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 accessib=
le 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 accumula=
tion 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 cult=
ure.
In this glance that the art has constructed, fundamentally in the con=
temporary proposals, it is ended up translating the necessity of the human =
being, to sublimate every moment, each event; from most excellent to most t=
rivial; everything, absolutely everything, is susceptible to be transformed=
into art work. And is it not through the humanization process, that the in=
dividual tends to recognize the sublime of every moment of the life that ha=
s been given him? It is not through this process that the human being can r=
ecognize the amazing of each aspect of the creation, no matter how small th=
is 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 executi=
on 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 i=
ts work is developed.
There Excentra goes; to put the accent in from where, more than in wh=
at. Even though what one takes place arises from the flight of the center.
Through the projects of Excentra, everything is unbuilded; only a rec=
eption form is conserved: the one in the Visual Arts; actually: everything =
transforms.
From the kitchen of Leonardo to the Cock- art, Food-performance and o=
ther modalities of ephemeral art.
The space of the gastronomy, it was at its moment, object of speculat=
ion 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 wit=
h 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 vis=
ual arts, the boarding of this new support and this differentiated quality =
from aesthetic events takes place.
PARTICIPANT ARTISTS
Uruguay
Clemente Padin
Federico Arnaud
Rulfo
Andres Rubilar
Carlos Pellegrino
Tamara Cubas
Cecilia Mattos
Carlos Barea
Grupo O.S.
Clever Lara
Gustavo Alamon.
Enrique Aguerre
Fernando Alvarez Cozzi
Espana
Joan Casellas (Barcelona)
Angel Pastor (Barcelona)
Vicente Pastor (Asturias)
Argentina
Gabriela Alonso (Buenos Aires)
Martin Molinaro (Rafaela)
Brasil
Paula Darriba
Chile
Guillermo Cifuentes (Santiago)
Humberto Nilo (Santiago)
Enrique Ramirez (Santaigo)
Nilda Saldamando (Santiago)
Suecia
Juan Castillo (Chile-Suecia)
SPONSORS
Unidad de Educacion Permanente del Instituto escuela Nacional de Be=
llas Artes. Universidad de la Republica. Intendencia Municipal de Tacuare=
mbo. Junta de San Gregorio de Polanco. Fundacion Tacuarembo. Institut=
o Universiotario BIOS.
CO-CURADORS
Ximena Narea
Links
Tacuarembo
Uruguay
Tacuy
Tacuarembo
First Oppen Art Museum of Latin America
Los medanos
Taller Clever Lara
Ana Maria Poggi
Octavio Podesta
Guillermo Bush
Other links IEBA
THE CLEMENTE PADIN FANS CLUB
——=_NextPart_001_00BD_01C49C19.50ABFA60
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<DIV align=center><FONT color=#006600 face="Arial Black"
size=2><BR>Internacional Arts Laboratory</FONT></DIV>
<DIV align=center><FONT color=#990000 face="Arial, Helvetica, s=
ans-serif"
size=2><B>TACUAREMBO, URUGUAY : 19 - 25
september<BR></B></FONT></DIV></TD></TR></TBODY></TABLE><BR>
<TABLE align=center bgColor=#006600 border=1 borderColor=#990000 ce=
llPadding=7
cellSpacing=1 width="98%">
<TBODY>
<TR>
<TD bgColor=#cccc99 vAlign=top><FONT color=#003333
face="Arial, Helvetica, sans-serif" size=2>Excentra is not an eve=
nt of the
arts of conventional type, like a biennial or the traditional arts ha=
ll.
We did not exclude that a part of it has characteristics of a traditi=
onal
event, and perhaps this operates as a form of conceptual anchorage fr=
om
conceivable codes for the public.</FONT>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>But the
innovating part of the event, proposing to leave the conventional for=
mat,
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.</FONT></=
P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif"
size=2>Excentra, as a concept, makes reference to a escape of the c=
enter.
This has been the characteristic tension of the Art in history. The n=
ature
of the Art has been and is the creation, the innovation, the original=
ity,
the rupture, the transgression. The center represents the established=
, the
conventional, therefore the creative force proposes the exploration i=
n 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 th=
e art
itself takes care to reformulate, to transgress, to put at issue; in =
some
way according with Simon Marchan Fiz: "…the art is the definition=
of the
art…"</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>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 o=
f
them; towards new forms of conception of the responsibility and
relationship of the artist with its public. </FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>Thus
also escaping towards the exotic to the use of the vanguards of centu=
ry
principle… In the same way Excentra sets out and proclaims event of=
the
Arts in process and progress, a new context of production, the artist=
ic
practice as an event, beyond products and protagonists; redimensionin=
g the
conditions of reception of works and the relationship of the public w=
ith
these and the authors.</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif"
size=2>Excentra, transforms to the city/town/habitat in atelier, in=
a
laboratory of the Arts, where the inhabitants and the visitors have t=
he
opportunity of turning from<BR>spectators to participants, according =
to
different modalities of permanent interaction.</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2><BR>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.</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>The in
progress and process condition implies transformations during the pro=
cess
of execution of the project, being the own recollection of this one, =
part
of the product.<BR>Other workshops can get up on the march as require=
d by
local or foreign artists.</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>The
final product, is conceived, in its dimension of spectacle, like a
Biennial of traditional art as much in its monumentality and aestheti=
c
quality, like in its potential of picking up interest of the public a=
nd
the international artistic community.<BR>By a side we understand
interesting to introduce the modality that was<BR>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<BR>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 exclusivel=
y for
the call and they are executed within the time that lasts the event.=
Depending on the characteristics of the workshops some activities the=
y
could begin before the established period so they take place at Excen=
tra.
</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>The
present condition of the Art causes that their proposals are opened t=
o
interdisciplinary integration, at the same time which also opens to t=
he
investigation, speculation and reformulation of the classic.</FONT></=
P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif"
size=2>Permanent samples in the style of the halls, as well as work=
shops
in execution, and events that will take place in the urban space or c=
losed
locals, possibly traveling events, that will fill of colorful daily=
living, they will urge the reflection and the aesthetic benefit to th=
ose
who have the opportunity to live this event.</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>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 th=
ing
to its reality, its identity and to the image that creates or tries t=
o
project to those of outside. It is an event trigger and its reach ext=
ends
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 typ=
e, of
sensibilization of the local population, to promote its creativity, t=
o
incursion in diverse challenges to discover and to expand the own
potential. <BR>All it reuniting a team of academic specialists and, t=
he
premises and foreigners with those who we worked years ago and that w=
ill
make their accomplishment possible.</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>In the
dimension of the cultural democratization, Excentra do not afiliate=
exclusively to the concept of which this one happens to make the cult=
ural
goods to the greater amount accessible of possible population, (in su=
ch
case the works of art made by artists of reputation), but also it inc=
ludes
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 o=
f
reputation loses his condition of so, but promoting new concepts and =
new
reflections and at the same time generating new challenges, as much f=
or
the artist as for the society.<BR><BR><BR><B>About
Excentra.</B></FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif"
size=2>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 th=
e
process of accumulation of proposals, represented by works and artist=
s of
different times. But also can be like the process of the construction=
of
the glance of our culture. <BR><BR>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 mome=
nt,
each event; from most excellent to most trivial; everything, absolute=
ly
everything, is susceptible to be transformed into art work. And is it=
not
through the humanization process, that the individual tends to recogn=
ize
the sublime of every moment of the life that has been given him? It i=
s not
through this process that the human being can recognize the amazing o=
f
each aspect of the creation, no matter how small this one is? <BR><BR=
>If
this is thus, it could be a good proposal, to do of our glance, of th=
e own
reception, the object. Because perhaps the subliming pulse of the art=
has
a different structure, to that process that takes to the humanized ma=
n, to
be at every moment of its life with it sublimates it. If something ha=
d of
sublime in being shot, perhaps not outside the fact that the executio=
n 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 w=
hen
its work is developed.<BR><BR>There Excentra goes; to put the accent =
in
from where, more than in what. Even though what one takes place arise=
s
from the flight of the center.<BR><BR>Through the projects of Excentr=
a,
everything is unbuilded; only a reception form is conserved: the one =
in
the Visual Arts; actually: everything transforms.</FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2><B>From
the kitchen of Leonardo to the Cock- art, Food-performance and other=
modalities of ephemeral art.</B></FONT></P>
<P><FONT color=#003333 face="Arial, Helvetica, sans-serif" size=
=2>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. T=
hese
incursions of the famous artist constitute source of inspiratio for a=
series of proposals and investigations, from which it appears the pro=
mise
of new categories that are opened like possibilities for the creation=
; for
new explorations of our sensitivity and our culture.<BR>Finally, a
dimension different in the encounter from the receiver with the<BR>wo=
rk.
The public not only contemplates it from the visibility, but is invit=
ed to
taste the works. Thus, from the horizon of reception of the visual ar=
ts,
the boarding of this new support and this differentiated quality from=
aesthetic events takes place.</FONT></P></TD></TR></TBODY></TABLE><BR>
<TABLE align=center bgColor=#006600 border=1 borderColor=#990000 ce=
llPadding=7
cellSpacing=1 width="98%">
<TBODY>
<TR bgColor=#cccc99>
<TD colSpan=2>
<DIV align=center><FONT face="Arial, Helvetica, sans-serif" size=
=2><FONT
color=#006600 face="Arial Black">PARTICIPANT
ARTISTS</FONT></FONT></DIV></TD></TR>
<TR bgColor=#cccc99>
<TD vAlign=top width="50%">
<P align=left><FONT color=#336600 face="Arial Black"
size=2>Uruguay</FONT><FONT color=#990000 face="Arial Black" siz=
e=2> <BR><A
href="http://www.heterogenesis.com/Artistas/Padin/Padin.htm">Clemen=
te
Padin</A><BR>Federico Arnaud<BR><A
href="http://www.geocities.com/rulfoxxxarte/">Rulfo</A><BR>Andres=
Rubilar<BR>Carlos Pellegrino</FONT><FONT color=#990000 face="Aria=
l Black"
size=2><BR><A
href="http://www.heterogenesis.com/Informacion/Limes%202003/Cubas.h=
tm">Tamara
Cubas<BR></A></FONT><FONT color=#990000 face="Arial Black" size=
=2>Cecilia
Mattos<BR>Carlos Barea<BR>Grupo O.S.<BR>Clever Lara<BR>Gustavo
Alamon.<BR>Enrique Aguerre<BR>Fernando Alvarez Cozzi</FONT></P>
<P><FONT color=#336600 face="Arial Black" size=2>Espana</FONT=
><FONT
color=#990000 face="Arial Black" size=2><BR><A
href="http://www.heterogenesis.com/Informacion/Limes%202003/Casella=
s.htm">Joan
Casellas</A> <FONT face="Arial, Helvetica, sans-serif">(Barcelona)=
</FONT><BR></FONT><FONT color=#990000 face="Arial Black" size=2=
><A
href="http://www.heterogenesis.com/Informacion/Limes%202003/Pastor.=
htm">Angel
Pastor</A><FONT face="Arial, Helvetica, sans-serif">
(Barcelona)</FONT><BR><A
href="http://w1.461.telia.com/~u46103776/Hemsidan/Galleri/2003/Vice=
nte%20Pastor.htm">Vicente
Pastor</A> <FONT face="Arial, Helvetica, sans-serif">(Asturias)
</FONT></FONT></P>
<P><FONT color=#990000 face="Arial Black" size=2><FONT
face="Arial, Helvetica, sans-serif"><BR></FONT></FONT></P></TD>
<TD vAlign=top width="50%">
<P><FONT color=#336600 face="Arial Black" size=2>Argentina</FON=
T><FONT
color=#990000 face="Arial Black" size=2><BR></FONT><FONT color=
=#990000
face="Arial Black" size=2><FONT face="Arial, Helvetica, sans-se=
rif"><A
href="http://www.gazonadearte.com.ar/"><FONT face="Arial Black">G=
abriela
Alonso</FONT></A></FONT> <FONT face="Arial, Helvetica, sans-serif">=
(Buenos
Aires)</FONT> <BR><A href="http://www.martinmolinaro.com.ar/">Marti=
n
Molinaro</A> <FONT face="Arial, Helvetica, sans-serif">(Rafaela)
<BR><BR></FONT><FONT color=#336600 face="Arial Black"
size=2>Brasil</FONT><FONT color=#990000 face="Arial Black"
size=2><BR>Paula Darriba </FONT><FONT
face="Arial, Helvetica, sans-serif"><BR><BR></FONT><FONT color=#9=
90000
face="Arial Black" size=2><BR><FONT color=#336600>Chile</FONT><=
/FONT><FONT
color=#990000 face="Arial Black" size=2><BR>Guillermo Cifuentes=
<FONT
face="Arial, Helvetica, sans-serif">(Santiago)</FONT><BR><A
href="http://www.cadaver.crosses.net/artistas.shtml">Humberto Nilo<=
/A>
<FONT face="Arial, Helvetica, sans-serif">(Santiago)</FONT><A
href="http://w1.461.telia.com/~u46103775/Exentra/www.geocities.com/=
saldamandodiaz/index.html"><BR></A><A
href="http://w1.461.telia.com/~u46103775/Exentra/EnriqueRamirez.htm=
">Enrique
Ramirez</A> <FONT face="Arial, Helvetica, sans-serif">(Santaigo)<=
/FONT><A
href="http://w1.461.telia.com/~u46103775/Exentra/www.geocities.com/=
saldamandodiaz/index.html"><BR>Nilda
Saldamando</A> <FONT
face="Arial, Helvetica, sans-serif">(Santiago)</FONT></FONT></FONT>=
</P>
<P> </P>
<P><FONT color=#336600 face="Arial Black" size=2>Suecia </FONT>=
<FONT
color=#990000 face="Arial Black" size=2><BR>Juan Castillo <FONT=
face="Arial, Helvetica, sans-serif">(Chile-Suecia)</FONT></FONT></P>
<P><FONT color=#990000 face="Arial Black"
size=2></FONT></P></TD></TR></TBODY></TABLE><BR>
<TABLE align=center bgColor=#006600 border=1 borderColor=#990000 ce=
llPadding=7
cellSpacing=1 width="98%">
<TBODY>
<TR>
<TD bgColor=#cccc99><FONT color=#003333
face="Arial, Helvetica, sans-serif" size=2><B>SPONSORS</B><BR>Uni=
dad de
Educacion Permanente del Instituto escuela Nacional de Bellas Artes=
.
Universidad de la Republica. Intendencia Municipal de Tacuarembo.=
Junta de
San Gregorio de Polanco. Fundacion Tacuarembo. Instituto Universi=
otario
BIOS. <BR><BR><B>CO-CURADORS</B><BR>Ximena
Narea</FONT></TD></TR></TBODY></TABLE><BR>
<TABLE align=center bgColor=#006600 border=1 borderColor=#990000 ce=
llPadding=7
cellSpacing=1 width="98%">
<TBODY>
<TR bgColor=#cccc99 vAlign=top>
<TD colSpan=4>
<DIV align=center><FONT face="Arial, Helvetica, sans-serif"
size=2><B><FONT color=#990000>Links</FONT></B></FONT></DIV></TD><=
/TR>
<TR bgColor=#ffffff borderColor=#990000>
<TD rowSpan=3 width="22%">
<DIV align=center><FONT face="Arial, Helvetica, sans-serif"><B><F=
ONT
color=#336600 size=2>Tacuarembo</FONT><FONT color=#990000 siz=
e=2><A
href="http://www.tacuy.com.uy/index.html"><BR></A></FONT></B><FONT=
face="Arial, Helvetica, sans-serif"><FONT color=#990000 face="A=
rial Black"
size=1>Uruguay </FONT></FONT><FONT color=#990000 size=2><A
href="http://www.tacuy.com.uy/index.html"></A></FONT><B><FONT
color=#990000 size=2><A
href="http://www.tacuy.com.uy/index.html"><BR><BR></A><FONT
face="Arial, Helvetica, sans-serif" size=2><IMG border=1 height=
=136
src="cid:00b401c49c3a$d7b2ec00$0100007f@padin02hwfb9gd"
width=128><BR><BR></FONT><FONT
face="Arial, Helvetica, sans-serif"><B><FONT color=#990000 size=
=2><A
href="http://www.tacuy.com.uy/index.html">Tacuy<BR></A><FONT
face="Arial, Helvetica, sans-serif" size=2><A
href="http://www.tacuarembodigital.com/">Tacuarembo</A></FONT></F=
ONT></B></FONT></FONT></B></FONT></DIV></TD>
<TD rowSpan=3 vAlign=center width="22%">
<DIV align=center>
<P><BR><A
href="http://www.geocities.com/TheTropics/Paradise/1282/museo.htm">=
<IMG
border=0 height=85 src="cid:00b501c49c3a$d7b2ec00$0100007f@padi=
n02hwfb9gd"
width=88></A><BR><BR><FONT face="Arial, Helvetica, sans-serif"
size=1>First Oppen Art Museum of Latin America</FONT></P></DIV></TD>
<TD colSpan=2 height=26 vAlign=top>
<DIV align=center><FONT color=#003333 face="Arial Black" size=
=1><A
href="http://w1.461.telia.com/~u46103775/Exentra/%20http://www.losm=
edanos.com.uy/museo.htm">Los
medanos</A></FONT></DIV></TD></TR>
<TR borderColor=#990000>
<TD bgColor=#990000 vAlign=center width="28%">
<DIV align=center><IMG border=1 height=85
src="cid:00b601c49c3a$d7b2ec00$0100007f@padin02hwfb9gd" width=129=
><FONT
face="Arial, Helvetica, sans-serif" size=1><BR><FONT color=#ccc=
c99>Taller
Clever Lara</FONT></FONT></DIV></TD>
<TD bgColor=#9999cc vAlign=top width="28%">
<DIV align=center><IMG border=1 height=108
src="cid:00b701c49c3a$d7b2ec00$0100007f@padin02hwfb9gd" width=85>=
<BR><FONT
color=#003333 face="Arial, Helvetica, sans-serif" size=1>Ana Ma=
ria
Poggi</FONT></DIV></TD></TR>
<TR>
<TD bgColor=#999900 vAlign=top width="28%">
<DIV align=center><IMG border=1 height=108
src="cid:00b801c49c3a$d7b2ec00$0100007f@padin02hwfb9gd" width=85>=
<FONT
face="Arial, Helvetica, sans-serif" size=1><BR>Octavio
Podesta</FONT></DIV></TD>
<TD bgColor=#339933 vAlign=center width="28%">
<DIV align=center><IMG border=1 height=85
src="cid:00b901c49c3a$d7b2ec00$0100007f@padin02hwfb9gd"
width=121><BR><FONT color=#cccc99 face="Arial, Helvetica, sans-=
serif"
size=1>Guillermo Bush</FONT></DIV></TD></TR>
<TR bgColor=#ffffff>
<TD width="22%">
<DIV align=center><FONT color=#006600 face="Arial, Helvetica, s=
ans-serif"
size=1>Other </FONT><FONT color=#006600
face="Arial, Helvetica, sans-serif" size=1>links</FONT></DIV></TD>
<TD vAlign=top width="22%">
<DIV align=center><FONT color=#006699 face="Arial Black"
size=2>IEBA</FONT><BR><IMG height=66
src="cid:00ba01c49c3a$d7b2ec00$0100007f@padin02hwfb9gd" width=60>=
</DIV></TD>
<TD vAlign=center width="28%">
<DIV align=center><A href="http://www.heterogenesis.com/"><IMG bo=
rder=0
height src="cid:00bb01c49c3a$d7b2ec00$0100007f@padin02hwfb9gd"=
width=113></A></DIV></TD>
<TD width="28%"> <FONT color=#ff0000 size=4><STRONG>THE CLEM=
ENTE
PADIN FANS CLUB</STRONG></FONT></TD></TR></TBODY></TABLE>
<DIV align=center><FONT color=#990000 face="Arial, Helvetica, sans-se=
rif"
size=1><BR></FONT> </DIV></DIV></FONT></DIV></BODY></HTML>
——=_NextPart_001_00BD_01C49C19.50ABFA60–
