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Fourth Plinth Winners Announced

7 February 2014

Hans Haacke and David Shrigley have been announced as the winners of the 2015 and 2016 Fourth Plinth commissions, selected from a shortlist of six. Trafalgar Square’s Fourth Plinth was originally intended for an equestrian statue, but has provided a platform for some far less traditional works of public sculpture in recent years… Click on any image to open the slideshow

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One comment

  1. Elmarie Nagle Feb 7 2014 at 11:53 am

    I believe the horse a worthy ‘tech age’ winner; I believe the hand with ‘thumb up’ gesture inappropriate to the symbolism associated with the site of Trafalgar Square & all of the other statuary already featured there, respectful of Britain’s military history; the horse is acceptable within a ‘broader meaning’ of the symbol of equestrian statuary in art history and military warfare. Just my opinion, and I do have sincere interest in contemp as well as trad art, just in case anyone questions my choice: my agreement to contemp ‘tech horse’ backs that up; however, I also have enormous respect for Trafalgar Monument and what it represents and find it ill-advised to insult those commemorated in battle, and the work of the sculptors who all collaborated on such a symbolic memorial to Admiral Nelson (and I am not even British!) including the bronze bas-relief by Irish-born sculptor (main protagonist of my doctoral thesis) John Edward Carew, one of four at the base of the monument. Lions are regal, a symbol of strength and courage, as are depictions of battles won and a nation defended during battles; as are equestrian statues, as early as the famed Marcus Aurelius. So horse, modern or traditional, standing still, or front legs raised in battle pose, with nostrils flaring (a far more difficult equestrian pose for the sculptor to accomplish, due to balance and weight of stone/ casting issues); so horse, with or without soldier, Roman Emperor, or Renaissance mercenary soldier employed by Italian Nation States, or one of Peter the Great of Russia, or even St Stephen, in bronze, mounted on a very elaborate marble plinth in Budapest; but that bronze hand? I suggest respectfully, without any animosity whatsoever towards the sculptor, or Committee members who chose it as a ‘winner’ and ‘fitting’ piece of sculpture to grace Trafalgar Square, when considered alongside the rich military symbolism of the other sculptural works already ‘in situ’, that the bronze hand belongs on a plinth outside Tate Modern-a far more fitting place for it to be exhibited.

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