Elogio al Horizonte 2005

Editor: This is Eduardo Chillida's "Elogio al Horizonte," created in 2005. It's a colossal concrete sculpture, and the image shows it against a breathtaking backdrop of sky and sea. It has such a powerful, almost primal feel. What symbols do you see at play in this work? Curator: The raw materiality of the concrete immediately strikes me, doesn’t it? It speaks to something ancient, monumental—think of megalithic structures like Stonehenge, imbued with ritualistic significance and a connection to the cosmos. The sculpture's placement, framing the horizon, evokes a symbolic gateway. What passes through the gateway for you? Editor: I guess it suggests transition, a point of moving forward to new perspectives or… horizons, like the title suggests? It does have a very "portal" sort of look to it. Curator: Exactly. Chillida, like many modern sculptors, draws upon universal, archetypal forms, in ways that transcend specific cultural contexts, but are informed by many cultures.. Its starkness invites viewers to project their own interpretations, linking the individual's horizon with a broader sense of human destiny and the passage of time. How does it impact you? Editor: For me, I guess that framing reminds me of looking ahead with possibilities, but the sheer size of the structure feels grounding at the same time. It's like a really compelling contrast. Curator: It's the dual nature of human experience - the eternal push to imagine forward into possibility and being anchored into existence. And there's a weightiness in its simple design, in its commitment to primary forms, to cultural memory and longing for our potential as a society, not simply as individuals. It echoes and asks: What is the memory we wish to build, here? Editor: I’d never thought of that tension between progress and memory being present here. Thank you, I'm finding so many ideas here that I missed. Curator: Precisely! Seeing isn’t just about observing; it’s about feeling and remembering. It has me contemplating those connections myself.