Hahn/Cock, Fourth Plinth | reviews, news & interviews
Hahn/Cock, Fourth Plinth
Hahn/Cock, Fourth Plinth
There's a joyous double-take element to Katharina Fritsch's great piece of public art
It’s a huge cock! The Brits love double entendres. Maybe the Germans do too, but the Brits have cornered the market. Katharina Fritsch, the German artist behind the huge cock on the Fourth Plinth in Trafalgar Square, has certainly played to our humour, but says she didn’t give a thought to the idea that the cockerel is a symbol of France.
What’s more, it’s in Gallic blue – though it could be a Royal Blue or a Tory blue or just plain blue. It’s a beautiful colour, and looks amazingly vibrant – a shock of blue of the most intense hue against a pale summer sky. And its size, as tall as a double-decker bus, adds an element of the surreal – you half expect a big Monty Python foot to come along and squash it.
Fritsch is a wonderful artist, as anyone who knows her body of work will testify. This, she says, is her feminist statement – the poking fun at masculine power and the uses to which public plinths have traditionally been put to use. This all sounds incredibly worthy, but the fact is it’s a great piece of public art because it looks great – there’s that joyous double-take when you first see it. It certainly doesn’t blend in with its surroundings, but instead has a dialogue with them, of which there are several possible layers of subtext. And that’s why it’s clever.
Of all the works to win the Fourth Plinth commission in its seven-year history, this one pulls it off most completely. Marc Quinn, with Alison Lapper Pregnant, was surely too earnest – who could really argue with its message? And it was so smooth it looked almost plastic – like a horrible marble resin. But it wasn’t quite as naff as Antony Gormley’s One and Other, which, with its message of inclusivity – oh, please, bugger off – gave show-offs a chance to show off for a whole day in London’s most famous public square.
Explore topics
Share this article
The future of Arts Journalism
You can stop theartsdesk.com closing!
We urgently need financing to survive. Our fundraising drive has thus far raised £33,000 but we need to reach £100,000 or we will be forced to close. Please contribute here: https://gofund.me/c3f6033d
And if you can forward this information to anyone who might assist, we’d be grateful.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Visual arts
![](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Screenshot%202024-10-30%20at%2017-39-09%20theartsdesk.com%20%28%40the_arts_desk%29%20%E2%80%A2%20Instagram%20photos%20and%20videos.png?itok=W02US5i5)
!['Untitled (No Comment)' 2020 by Barbara Kruger](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Kruger%20cat%202_0.jpg?itok=yeMkISnK)
![AARON #1 Drawing, 1979 by Harold Cohen. Tate, Purchased 2015](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Electric%20Dreams%20Harold%20Cohen%2C%20AARON%20%231%20Drawing%2C%201979.%20Tate.%20Purchased%202015.%20%C2%A9%20Harold%20Cohen.%20Photo%20courtesy%20of%20Harold%20Cohen%20Trust.jpg?itok=wxIVqYGb)
![Laurie Anderson serenades the rockets taking off into the stratosphere](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Ark%20%20clouds%20%28CREDIT%20DUNCAN%20ELLIOT%29.jpg?itok=IceB0-fQ)
![Corpo Coletivo (collective body) 1974 by Lygia Clark. Paço Imperial, Rio de Janeiro, 1986.](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Lygia%20Clark%20%20Corpo%20Coletivo%20%28colective%20body%29%201974.jpg?itok=FHh-bQyz)
![Ahh...Youth!, 1991 by Mike Kelley](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Mike%20Kelley%2C%20Ahh...Youth%21%201991.jpg?itok=MwzWjYgA)
![Waterloo Bridge, Overcast, 1903 by Claude Monet, oil on canvas](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Claude%20Monet%20%281840-1926%29%2C%20Waterloo%20Bridge%2C%20Overcast%2C%201903%2C%20oil%20on%20canvas%2C%20Ordrupgaard%2C%20Denmark.%20Photo%20Anders%20Sune%20Berg%20.jpg?itok=ntnY_MUy)
![Common History: Conference, 1999 by Michael Craig-Martin. Acrylic on aluminium, 274.3 x 508 cm.](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Craig-Martin%20office.jpg?itok=tFfDg8dK)
![Olive trees with the Alpilles in the Background, 1889 by Vincent Van Gogh](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Van%20Gogh%20olive%20trees.jpg?itok=XHImVKMa)
!['Thatcher Unmasked', 1986 by Peter Kennard](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Peter%20Kennard_Thatcher%20Unmasked_1986.jpg?itok=5l9AxAqi)
!['Ineligible for Death', 2024 by Dominique White, Max Mara Art Prize for Women 2022-24](https://theartsdesk.com/sites/default/files/styles/thumbnail/public/mastimages/Dominique%20White_ineligible%20for%20death_2024.jpg?itok=Or8wdFI-)
Add comment