I shall explain... Awhile ago, a friend posted a photo on Facebook of the 'Hahn/Cock' by the sculptor, Katharina Fritsch and I promised to take more photos as I was intrigued how little attention the sculpture had attracted compared to the obvious lure of Nelson's Column and the Lion on one of the other plinths. I then recalled that in recent years, the Fourth Plinth has provided the home for a number of rather transient commissions ranging from Marc Quinn's 'Alison Lapper Pregnant' in 2005 to the most original use of the space, Anthony Gormley's 'One and Other' in 2009. You may remember 'One and Other' because essentially, it allowed a wide diversity of people to spend an hour on the Fourth Plinth doing what they wanted. Sometimes, this involved playing a musical instrument, on other occasions, mime acts and also I recall various things being thrown to onlookers. The lack of a permanent sculpture led to me doing a bit of research to explain why the Fourth Plinth is doomed to live a life of transition. Apparently, the Fourth Plinth was originally going to be the home of an equestrian statue, it was designed by Sir Charles Barry and built in 1841. Unfortunately, the money wasn't forthcoming, so said project was put 'on hold'.
One hundred and fifty years later in 1998, The Royal Society for the Encouragement of Arts, Manufactures And Commerce conceived the Fourth Plinth Project (essentially, commissioning temporary works to utilise the sadly neglected space). From 2005, the new Greater London Authority took over the responsibility for utilising the Fourth Plinth under the rubric of the Fourth Plinth Commission.
Anyhow, the current work, 'Hahn/Cock' is due to be there for eighteen months and was revealed to the public on 25th July 2013. As I have wandered around London, I have grown to love this odd addition to Trafalgar Square. Truly, how can you not love a huge blue cockerel? Well, it's not attracting that much attention from the tourists. Having said that, I have noticed an increase in interest. Maybe, once people begin to realise that it's not some kind of elaborate joke, they become more attracted to this rather wonderful curio.
A long distance view of the 'Hahn/Cock' largely ignored by the people beneath it.
A back view.
Beautiful plumage.
The curves of desire. Okay, I see everything as erotic.
The sculpture looking scathingly or perhaps, longingly, at its phallic neighbour.
Proud and oddly magnificent.
Information about the 'Hahn/Cock' that appears on the Fourth Plinth.
A front view of the sculpture with pigeons who greatly admire their big blue protector.
To close, something about the sculpture and the temporal nature of the works on the Fourth Plinth appeals to my love of aesthetic change. Art by its nature is fluid and it is only through an appreciation of this truth that new works are created. A silent salute to you, Katharina Fritsch! Oh yes, in passing before I forget to say, you can't see the work at night as it is not spotlighted, so unless you have a torch or infrared glasses, it may be best to visit it during the day.
Barry Watt - 30th August 2013
After Word
My research on the Fourth Plinth came from the following websites, both of which I recommend if you want to know more about the Fourth Plinth.
My photos of the 'Big Blue Cock' as I have affectionately dubbed 'Hahn/Cock' by Katharina Fritsch are used for illustrative purposes and she remains the genius who created this work.
BW
