Hahn/Cock

A giant blue cockerel stands in Trafalgar Square, London, on the fourth plinth left empty for temporary art. The fibreglass sculpture by Katharina Fritsch rises 4.72 metres and weighs several hundred kilograms. It occupied the plinth from July 2013 to February 2015 before moving to Washington’s National Gallery of Art. A second copy remains in Minneapolis at the Walker Art Center’s sculpture garden. The artist took two and a half years to model the cockerel, working in editions of two. The work plays on contrasts: a female artist depicting a male symbol in a square full of male statues. Fritsch calls it a feminist statement that flips traditional roles. Boris Johnson unveiled it, noting the irony of a French emblem in a square celebrating a British victory. The sculpture’s name and phallic associations were discussed openly during its unveiling. Critics found it humorous and uplifting rather than aggressive. Visitors see a vivid blue bird with sharp detail and lifelike posture. The cockerel’s size and colour make it visible from far across the square. Its placement beside Nelson’s Column and the National Gallery creates a striking contrast. The work lightens the mood without demanding deep meaning. Some locals objected, but most passers-by smiled at its bold presence.