http://www.london.gov.uk/trafalgarsquare/around/4th_plinth.jsp

The Fourth Plinth

The Fourth Plinth, in the north-west of Trafalgar Square, was originally intended for an equestrian statue but was empty for many years. It is now the location for specially commissioned artworks.

Nelson's Ship in a Bottle

Nelson's Ship in a Bottle, by leading Anglo-Nigerian artist Yinka Shonibare MBE, was unveiled in Trafalgar Square on Monday 24 May 2010.

It is the first commission on the Fourth Plinth to reflect specifically on the historical symbolism of Trafalgar Square, which commemorates the Battle of Trafalgar.

It is also the first commission by a black British artist.

Future works

Visit the Fourth Plinth website for information about the next art works that are proposed for the Fourth Plinth - and let us know what you think of them.

Previous works

From 6 July to 14 October 2009 the Fourth Plinth in the north west of the square was home to Antony Gormley's One & Other, an astonishing living monument. He asked the people of the UK to occupy the empty Fourth Plinth in Trafalgar Square, a space normally reserved for statues of kings and generals, in an image of themselves, and a representation of the whole of humanity.

The plinth was occupied by different people - chosen by ballot - every hour, 24 hours a day, for 100 days.

'What artwork has ever given 2,400 ordinary people the chance to become art itself?' (Alex Needham, The Guardian)

Thomas Schütte’s Model for a Hotel, an architectural model constructed in specially engineered red, yellow and blue glass, was unveiled in November 2007 and occupied the plinth until the end of May 2009.

Marc Quinn's sculpture Alison Lapper Pregnant was the first new commission for the Fourth Plinth under the auspices of the Mayor of London’s Fourth Plinth Commissioning Group. It was in place in the square from September 2005 until October 2007.

The Fourth Plinth programme is part of the vision for Trafalgar Square to be a vibrant public space and to encourage debate about the place and value of public art in the built environment.

【聯合報╱本報記者／陳宛茜】 2010.11.14 02:51 am

倫敦特拉法加廣場上的第四基座，從古蹟變身當代藝術展場。 記者陳宛茜／攝影 請試著想像以下畫面：在中正紀念堂的蔣公銅像旁，出現周董或王建民的蠟像，甚至是裸男裸女，會是什麼光景？ 此等風景在台灣就算沒引發政治風暴、也必然慘遭叩應節目道德圍勦，在倫敦卻是平常風景。倫敦地標特拉法加廣場裡矗立一根高齡160歲的巨柱「第四基座」，是藝術kuso歷史與偉人的歡樂舞台。 特拉法加廣場是為紀念1805年的特拉法加戰役而建。它在倫敦的地位，一如北京的天安門、台北的自由廣場。 廣場四角上有四個雕塑基座，其中三個放的都是將軍或國王雕像，唯西北角的第四基座懸缺。該基座原本計畫放上威廉四世國王的騎馬雕像，卻一拖150年都沒 「到位」。直到1999年，皇家人文學會提議將此基座做為當代藝術舞台。由名流要人組成委員會，對外公開徵選藝術家針對第四基座設計作品，一兩年更換一 次。 第一個登上寶座的是Mark Wallinger的「瞧！這個人。」他將一個市井小民的雕像戴上象徵耶穌的荊棘冠冕，象徵小人物在歷史上的地位，不遜於其他三座基座上的政治、軍事領袖。 2004年Marc Quinn在第四基座放上殘障藝術家Alison Lapper懷著八月身孕的裸體塑像，以殘缺、女性的形象對抗四周的男性歷史領袖，轟動一時。 去年中選的藝術家Antony Gorm，則讓人人都有機會登上歷史舞台。他邀請志願者登上第四基座，每人以一小時為限，可攜帶任何東西做任何想做的事。這次的展覽吸引了2400位「人體雕像」，第一位站上寶座的是一位家庭主婦，在基座上呼籲英國重視兒童保護組織。 第四基座曾因經費不足，空置了兩年。其間被粉絲偷偷放上足球金童貝克漢和英式橄欖球星Jonny Wilkinson的蠟像。歷經十年風風雨雨，「第四基座」從最早被認為「不倫不類」，逐步成為全城關注的重量級當代藝術展場，倫敦人也從中學會對歷史的 批判反省與對不同意見的包容。 台灣藝術家也曾試著在蔣公雕像身旁放上五彩繽紛的風箏、或在景美人權園區放上純白的羽毛，這些藝術對歷史的探索，卻總在激情的政治風暴中轉瞬消失無蹤。什麼時候，我們也能擁有包容藝術與歷史、人人可表達意見的「第四基柱」呢？