Art@Site Enrique Carbajal, Sebastian El Caballito Mexico

Enrique Carbajal, Sebastian


El Caballito

Paseo de la Reforma
Exploiting the effects.
This artwork is exploiting all the effects. Thick beams are bended. Sharp edges. Huge froms are connected.
In a color that stands out in the city. No gray, blue or brown! Marigold yellow. Big, so people look at it from every angle.
The shade helps. There are soft dark colours because the beam is under an angle. There are remote areas with a smooth transition of colors. Are there hard drop shadows.
By Theo,

Stevig uitpakken.
Dit kunstwerk pakt stevig uit. Dikke gebogen balken. Scherpe hoeken. Grote vormen zijn gekoppeld.
In een kleur die opvalt in de stad. Geen grijs, blauw of bruin! Goudsbloemgeel. Groot, zodat mensen kijken vanuit elke hoek.
De schaduw helpt. Er zijn zachte donkere tinten doordat de balk onder een hoek staat. Er zijn terugliggende vlakken met een geleidelijke overgang van kleuren. Er zijn harde slagschaduwen.
Door Theo,
El Caballito, officially Cabeza de caballo ("horse's head"), is an outdoor 28-metre (92 ft) tall steel sculpture by Sebastián (Enrique Carbajal) depicting a horse's head, installed along Mexico City's Paseo de la Reforma, in Mexico. It was dedicated on January 15, 1992.
Enrique Carbajal (Sebastian) created the El Caballito monument under the Olmec conception. The El Caballito was installed in front of the Torre del Caballito, a high office building. The monument had to replace the statue of Carlos IV which was removed from there in 1979, and also had to be some kind of chimney that would dissipate the vapors from deep drainage but wouldn't adversely affect the image of the Paseo de la Reforma.
Sebastián's 'Caballito' needs to be understood in relation to the original 'El Caballito.' That equestrian statue, stood at this very location from 1852 until 1979 when it was moved to the Manuel Tolsá Plaza in front of the Munal National Art Museum.
The artist, Sebastián, titled the work 'Cabeza de caballo,' meaning ' known to everyone, still, as 'El Caballito,' even long after the original was moved. The work rather obviously starts with Tolsá's Charles IV, and from there it may just go where you'd like it to. People have never stopped arguing about it.
The statue is made from steel plates coated in a brilliant yellow enamel. This Caballito is 28 meters (92 ft) tall. The owners of the tower behind the sculpture, the Torre El Caballito, commissioned the work. Their requirements specified that it be 28 meters in height and capable of venting the fumes from a sewer underneath. It's succeeded at these modest goals. And it has been an important point of reference ever since.
Sebastián, the artist, is Enrique Carbajal González. Born and raised in Chihuahua, his work is always vaguely related to the north of the country. Steel sculptures, they always retain a whiff of the desert. The truth is, Sebastián spent his student years in Mexico City and has essentially been here since he bes at Unam in 1964. His work is among the most recognizable visual art to have emerged in Mexico in the latter half of the 20th century.
Monumental, modern, and outspoken, Sebastián's work graces the horizons of a good dozen Mexican cities. They're nearly aways highly stylized monochrome abstractions based in natural forms. Two of the closest are Coyote Hambriento, in the center of Ciudad Nezahualcóyotl, in Mexico State. The title refers to one way of translating Nezahualcóyotl's name, i.e.; Hungry Coyote. The Fluorita Roja (Red fluorite) is even closer, on the Uam campus in Azcapotzalco.
They're controversial in a rather harmless way almost everywhere. Big, modernist metal sculpture might always throw some people into a frenzy. But Sebastián's 'Caballito', alas a riderless horse, pulls off an entirely appropriate feat. It's respectful of its past while correcting a few of the past's own indiscretions. There are no conquered indigenous, and no foreign king here. In fact, Sebastibwed the Olmec sense of proportion, considering only the size and shape of the horse's head. The result is sometimes startling. At almost 40 years, the work is aging exceptionally well.