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Exhibition Review exhibition review Nelson’s Ship in a Bottle Fourth Plinth Commission, Trafalgar Square, London May 24, 2010–January 31, 2012 National Maritime Museum, Greenwich permanent display from April 25, 2012 reviewed by Elsbeth Joyce Court Nelson’s Ship in a Bottle Yinka Shonibare, MBE b. 1962, London Nelson’s Ship in a Bottle is a sculpture of Nelson’s fl agship HMS Victory. Th e sculpture considers the relationship between the birth of the British Empire, 1 May 24, 2010, Trafalgar Square in made possible in part by Nelson’s victory at the Battle behalf of the National Maritime Museum to front of the National Gallery: launch of Trafalgar, and multiculturalism in Britain today. acquire Nelson’s Ship to mark its 75th anniver- day for Nelson’s Ship in a Bottle (2009), winner of the Fourth Plinth Commission, For me it’s a celebration of London’s immense sary (Fig. 1). In 2012, the Fund’s annual poll the United Kingdom’s most prestigious ethnic wealth, giving expression to and honoring the ranked the work the third most popular aft er sculpture award. many cultures and ethnicities that are still breathing Rachel Whiteread’s beautiful frieze Tree of Fiberglass, steel, resin, printed textile, precious wind into the sails of the United Kingdom. Life (2012) on the façade of the Whitechapel linen rigging, acrylic, wood; 290 cm x 525 cm x 233 cm Yinka Shonibare, MBE Art Gallery and the Titian masterpiece Diana Photo: James O’Jenkins. © Yinka and Callisto (1556–1559). Such recognition Shonibare MBE. Courtesy the artist, Th e sculpture is 3.2 metres high and 5 metres long heightened the stellar position that the art- Stephen Friedman Gallery (London) and weighs 4 tons. ist has maintained throughout his remarkable and James Cohan Gallery (New career (Court 1993). Shonibare himself terms York) [Patrons] Fourth Plinth, Mayor of London, Lottery his Fourth Plinth experience to be a “game Funded Arts Council, Th e Henry Moore Foundation, changer,”1 which was also observed by theo- Guaranty Trust Bank [Nigeria] rist and Serpentine Gallery co-director Hans Ulrich Obrist: “Th e experience of Trafalgar the hitherto empty plinth in this grand square Th is text panel on Trafalgar Square’s Fourth Square changed something profoundly for that felt out-of-step with the tremendous Plinth denoted the May 20, 2010, unveiling of you” (2013a:17). Th at “something profound” is socioeconomic changes taking place in Lon- the contemporary monument Nelson’s Ship in a the crux of this review. don and beyond. Contingent developments Bottle and introduced what is widely regarded Trafalgar Square (Fig. 3) was constructed in the visual arts indicated that the notion as Yinka Shonibare MBE’s most signifi cant during the mid nineteenth century to celebrate of the heroic, masculine monument needed work to date (Figs. 1–2).1 On display for twenty Britain’s pivotal victory over the Franco-Span- renegotiation to fi t with the postcolonial era. months in London’s premier space for popular ish fl eet at Capo Trafalgar (“west cape,” from Accordingly, the RSA consulted widely and mass gatherings, cultural events, and political the Arabic tarf-al-ghar). Th e Square com- eventually agreed upon an audacious art rallies, the colossal model of sailor’s art/replica prises a large, open area of stone terraces with project: a commission to create a temporary, of HMS Victory/Pop Art seaside souvenir/giant two large fountains and monumental sculp- postmodern monument. Th e author of Sculp- toy/patriotic or postcolonial icon was viewed by tures that surround its centerpiece: the tower- ture Now explains, “For each temporary cre- a million people a day. Th e range, intensity, and ing Nelson’s Column that commemorates the ation, the artists have to re-think the function persistence of responses indicate Nelson’s Ship is commander of the British fl eet who was killed of the monument in this historic square …” the most popular of the Fourth Plinth Commis- during the 1805 battle. Th e nation’s greatest (Moszynska 2013:203). Aft er years of negotia- sion’s awards. naval hero, Admiral Lord Horatio Nelson was tion to “gain permission for contemporary Toward the end of work’s tenure, the Art also an unconventional man with physical dis- art to occupy the empty plinth,” the RSA’s art Fund, the national charity that assists muse- abilities like Yinka Shonibare MBE.2 specialists commissioned three sculptures that ums to purchase outstanding art, mounted In the 1990s, the Royal Society of Arts were exhibited sequentially from 1999 through a high-profi le fund-raising campaign on (RSA) embraced the challenge presented by 2001 (Crimmin 2012). 86 | african arts SUMMER 2014 VOL. 47, NO. 2 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_r_00143 by guest on 28 September 2021 140315-001_76-96_CS6.indd 86 3/18/14 11:07 AM 2 The permanent installation of Nelson’s Ship in a Bottle outside the new Stephen Ofer Wing of the National Maritime Museum, Greenwich, April 25, 2012. The short plinth (2.8m) provides better viewing than in Trafalgar Square. Photo: David Westwood. © Yinka Shonibare MBE. Courtesy of the National Maritime Museum, Greenwich 3 Trafalgar Square, 2010, view toward the Houses of Parliament. Left rear is Nelson’s Col- umn topped with his portrait sculpture (height about 60 m); right are two of the Square’s four plinths. The closer and larger plinth (height 4.1 m) holds the Fourth Plinth Commission: Nelson’s Ship in a Bottle. Photo: © James O’Jenkins On assuming responsibility for Trafalgar opinions during the maquette stage.4 Th e and organizational capacities to the hilt. He Square in 2001 (from the Crown), the Greater short list included Jeremy Deller, Tracey Emin, utilized the services of his studio and those of London Authority undertook to redevelop the Antony Gormley, and Yinka Shonibare. Th e MDM Props, who are specialists in realizing space to facilitate more extensive public use. two winning artists, Gormley and Shonibare, complex projects for theater and artists such as By 2005, the Mayor’s Offi ce had revamped refi ned their expressive concepts into practi- Damien Hirst and Anish Kapoor. MDM Props the project into a biannual competition that cable plans. At that point it became clear that built the 1/30 replica of HMS Victory in wood is monitored by the Fourth Plinth Commis- the budget to produce Nelson’s Ship in a Bottle and then assembled its eighty guns, three sioning Group, composed of a variety of dis- would require additional funding, which was masts, and rigging with thirty-seven sails, of tinguished art people. Th e Group invites up found with the assistance of Shonibare’s long- which thirty were set as on the day of the deci- to thirty artists to devise a monument and standing gallerist Stephen Friedman. sive battle. Th e model fl oats on a plastic ocean then selects six fi nalists to write grant propos- While Vasa in a Bottle had provided Shoni- in its bespoke acrylic bottle that is placed on a als and to exhibit their maquettes. On receiv- bare with formal and symbolic stimuli, the wood platform housing its ventilation. ing his invitation, Shonibare recalls, “I wanted fabrication of Nelson’s Ship, an even larger, Shonibare focused on the preparation and my piece to be contextually specifi c for Tra- outdoor, public work, would test his artistic assembly of the model’s sails for both instru- falgar Square with Nelson’s Column and to do something relating to this imperial space.” He settled on a four ton parody of Nelson’s ship HMS Victory. “To have just put the ship on the plinth would have been boring, but in tak- ing this heroic object and converting it almost into a toy, in the sense that it’s disarmed, takes power away … It is no longer an instrument of colonial expansion” (2013a:17). In fact, Shonibare was manipulating two strands in his oeuvre: boys’ toys and model ships, particularly the intriguing convention of a ship-in-the-bottle. He discovered such a model/toy at the Moderna Museet, Stock- holm, while he was on a residency to make art in celebration of the Museet‘s refurbishment. His key work Vasa in a Bottle (2004)—the fi rst precedent for Nelson’s Ship—emerged from Shonibare’s historical study of the decadence of the Swedish monarchy, in which the epit- ome of royal excess was the commission of the largest-ever wooden warship Vasa (1626–28), which sank upon its launch due to its faulty design. With mild irony, Shonibare remarked that Vasa has its own heritage museum.3 During the 2007–08 round of commis- sions, the public was invited to voice their VOL. 47, NO. 2 SUMMER 2014 african arts | 87 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/AFAR_r_00143 by guest on 28 September 2021 140315-001_76-96_CS6.indd 87 3/18/14 11:07 AM mental and essential reasons, cloth being his son’s Ship, the sail has blossomed into its own Nelson’s Ship in his oeuvre. Rich in links with primary metaphor for cultural hybridity (Fig. identity, as seen in the digital rendering of a his artistic trajectory and the embodiment of 5). He created fabric designs for the sails in moving textile in Trafalgar Square (Fig. 6) and his ethos—to promote change from within the style of his hallmark Dutch wax: a fl ame its realization into an exhilarating 6m outdoor society—Nelson’s Ship is Shonibare’s most self- and rust batik with a nautical pattern compris- work, Wind Sculpture II (Fig.
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