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Posts Tagged ‘Powerless Structures Fig. 201’

I love the new statue on the fourth plinth. It is well worth a visit whenever you are passing through central London.

Ostensibly, it’s about innocence, joy, hope, and (as one of the artists says) ‘looking to the future’: a young boy, slightly older than I expected (is he about six or seven?), leans back in delight on his golden rocking horse, held in suspension before he lunges forward again.

But there is the rub: ‘looking to the future’. What future? It’s impossible not to compare the rocking horse with the military horses that adorn various other plinths round London, and with George IV’s horse on the third plinth just the other side of Trafalgar Square. And that sets up three implicit meanings to the statue that perpetually jostle with each other and create an incredible hermeneutical tension.

Is it saying: Forget the military heroism, the cult of the strong leader, the violence of war – there is something simpler and purer here, the innocence of childhood, which should lead to a brighter future without the disfigurement of war?

Or is it saying: Look at the heroes around you, the iconic warriors, and all they have done – for good or for ill. Look at them, and see how they were once as innocent as this young boy. See how innocence can be corrupted. See how quickly childhood disappears.

Or is it saying: Look at the heroes around you, the warriors, the liberators, the tyrants, the demagogues, the nameless horsemen who have led others into battle over the centuries. Look at them, and see how they were never innocent, because their aggression and their posturing started in the nursery, when they played at soldiers, and when their mock heroics – like this rocking horse moment – cast a psychological mould and set them on a trajectory that would lead to a thousand battlefields.

In other words, do you see in this boy an innocence that need never be corrupted, or an innocence that will one day be tragically corrupted, or a faux innocence that hides a corruption that has always been there and will one day wreak havoc?

In theological terms: Do you believe that there is no such thing as the Fall (that we live in and will continue to live in a time of Original Blessing), or that since the Fall we are prone to corruption and affected by it in different ways depending on our circumstances and our reactions, or that we are fundamentally corrupted by the Fall and without innocence or hope from the very beginning?

In psychological/sociological terms: Do you think that the harm we suffer or do is avoidable, or the inevitable result of our nurture, or the inevitable result of our nature?

Is it anti-war or pro-war or pre-war or indifferent-to-war or post-war or just a boy on a rocking horse?

Aside from these slightly heavy puzzles and provocations, it is an absolutely beautiful object, a joy to behold! And if you want to forget all the references to war and corruption and the Fall and just enjoy it as a celebration of the innocence of childhood – that’s fine…

Some words from Mark Brown’s article:

The 4.1-metre golden boy was unveiled on the fourth plinth on Thursday to whoops, aahhs and confused looks from foreign tourists in passing coaches. The reaction from Scandinavian artists Elmgreen & Dragset was one of immense relief.

“You’re not allowed to make tests, so it is a bit of a gamble,” said Ingar Dragset. “It’s installed the night before – it’s nerve-racking.”

The boy’s formal name is Powerless Structures, Fig 101, and he sits on top of a plinth designed to host a bronze equestrian statue of William IV by Sir Charles Barry, which was never installed.

More than 170 years later the boy becomes the latest in a series of contemporary art commissions that has included Marc Quinn’s pregnant Alison Lapper and, most recently, Nelson’s Ship in a Bottle by Yinka Shonibare.

The statue was unveiled by Joanna Lumley who said she was thrilled to be revealing what was a “completely unthreatening and adorable creature” to the public.

Lumley said the plinth was great because it gets people talking. “What I love about this plinth, which is extraordinary because it’s empty, is that everybody is waiting to see what comes next … and everybody becomes an instant art critic. Everybody knows what should be there, what’s better than last time, what’s marvellous, what’s wonderful, what’s dreadful.”

Michael Elmgreen said it was deliberate that you have to walk around the square to meet the boy’s eyes and to see his expression – he is looking away from George IV “because he is afraid of him”.

While the other statues in the square celebrate power, this work celebrates growing up. He is a “more sensitive and fragile creature looking to the future”, said Elmgreen. The hope is that it might encourage people to consider less spectacular events in their lives, ones which are often the most important.

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I’m delighted. I posted in August about the shortlist for the fourth plinth, and the winners are the rocking horse child and the blue cockerel – announced yesterday by Boris Johnson. The child comes first in 2012, and the cockerel in 2013.

Elmgreen & Dragset - Powerless Structures, Fig. 101

 

Katharina Fritsch - Hahn/Cock

Mark Brown reports on the announcement.

Elmgreen & Dragset’s Powerless Structures, Fig 101, which will be cast in bronze, portrays a boy astride his rocking horse.

Its creators say the child is elevated to the status of a historical hero in the context of the iconography of Trafalgar Square. Instead of acknowledging the heroism of the powerful, the work is said to celebrate the heroism of growing up and gently question the tradition for monuments predicated on military victory or defeat.

German artist Katharina Fritsch’s proposal, Hahn/Cock, is a giant cockerel in ultramarine blue. The cockerel is a popular motif in modernist art, symbolising regeneration, awakening and strength.

Johnson said the fourth plinth sparked the imagination and attracted a “tremendous response” from the public.

“As we head towards 2012 – a pivotal year for culture as well as sport – these witty and enigmatic creations underline London’s position as one of the most exciting cities for art and are sure to keep people talking,” he said.

The selection was made by a commissioning group chaired by Ekow Eshun. “Elmgreen and Dragset and Katharina Fritsch are distinguished artists with major international reputations,” Eshun said. “Their selection further underlines the importance and reputation of the fourth plinth as the most significant public art commission in Britain.

“Both have created imaginative and arresting artworks that fully respond to the uniqueness of their location and I can’t wait to see their sculptures in Trafalgar Square in 2012 and 2013.”

Moira Sinclair, the London executive director of Arts Council England, said: “The fourth plinth continues to provide a wonderful platform, creating a shared moment amid the hustle of city life for thousands of Londoners and visitors alike to be intrigued, to think about their environment afresh and to experience the very best of contemporary art.

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