In 1966, Stockholm witnessed one of the most controversial and groundbreaking art installations in history when 100,000 visitors entered through the genital opening of a monumental sculpture called 'Hon.' This extraordinary work by French-American artist Niki de Saint Phalle became known as both the largest of her famous 'Nana' series and earned the provocative nickname 'the world's largest whore.'
Hon, meaning 'She' in Swedish, was a record-breaking installation measuring 75 feet in length, 20 feet in height, and weighing 6 tons. The sculpture was commissioned by Ponthus Hulten, director of Stockholm's Moderna Museet, who envisioned a monumental ephemeral statue for the summer of 1966. Saint Phalle collaborated with her husband Jean Tinguely and Finnish artist Olof Ultvedt to create what they conceived as a major European pop art piece that would distinguish itself from American works of the same movement.
After extensive deliberation and Tinguely's initial proposal for a mechanical theater, the four artists decided to base their creation on a cathedral-like concept. They ultimately chose Saint Phalle's Nana model, reimagining it as an enormous reclining pregnant woman with spread legs, designed to welcome visitors through her genital opening. The concept was deliberately bold and challenging, pushing the boundaries of acceptable art in the 1960s.
The creation process was shrouded in secrecy due to the controversial nature of the work. As Saint Phalle explained at the time, 'There was nothing pornographic about Hon even though one entered through her sex. Pontus knew that with this vast lady he was embarking on a perilous adventure. So he decided to keep the entire project secret. Otherwise, the authorities might have misinterpreted the rumors and banned the exhibition before it opened. We had to build a giant screen behind which we worked. Nobody was authorized to see what we were doing.'
Hon was not Saint Phalle's first Nana sculpture. The series began in the early 1960s with the first piece, Gwendoline, which launched a long line of feminine sculptures that would define the Franco-American artist's career. Born in Paris in 1930, Saint Phalle created these voluptuous figures as doll-like sculptures with large breasts and buttocks, naming each after people close to her, including Elizabeth (her sister) and Clarisse (her friend). The Nanas represented both Saint Phalle's personal universe – her nanny was called 'Nana' – and carried political feminist statements.
These sculptures were conceived within the feminist context of the 1960s, embodying a different kind of femininity that opposed prevailing body standards. The term 'nana' also historically referred to prostitutes, adding another layer of social commentary to the works. Today, Nana sculptures can be found around the world, from Nice to Hanover, from Stockholm to New York, testament to their enduring impact and popularity.
The construction of the massive Hon took exactly six weeks, with the team working from a miniature model. Saint Phalle described the intensive process: 'Jean, who was capable of measuring by eye, managed to enlarge the model into an iron framework that was an exact replica of the original. Once the chassis was welded, an immense surface of wire mesh was welded to form the body of the Goddess. On small electric burners, I cooked enormous pots of stinking rabbit skin glue. Meters of fabric were mixed with the glue, then arranged on the metal skeleton. Several layers were necessary to hide the support. When the canvases were dried and well glued, we painted the goddess's body white.'
The time constraints imposed by Hulten forced the team to work 16-hour days to complete the statue on schedule. The pressure was immense, but their dedication to the project never wavered as they raced to bring their vision to life for the summer exhibition.
When Hon opened to the public in June 1966, visitors discovered an extraordinary interactive experience. Entering through the sculpture's genital opening, they found themselves in a giant labyrinth that led to various attractions within the figure. The installation included a bar housed in her chest, a planetarium in her right breast, a slide in her right leg, and a gallery of fake paintings by masters like Paul Klee and Jackson Pollock. Stairs on the Nana's belly led visitors to a terrace offering views of the spectators below.
'I painted Hon like an Easter egg with the pure and very bright colors that I have always used and loved,' Saint Phalle confided about the work's vibrant appearance. 'It was an incredible creative experience.' The artist's signature bold color palette transformed the massive sculpture into a joyful, celebratory work despite its provocative nature.
The installation achieved remarkable success, attracting 100,000 visitors over three months and earning its controversial nickname as 'the world's largest whore.' However, Hon's destruction was as dramatic as its creation – the sculpture was demolished in just three days, faster than it had been built. The rapid and violent decomposition was documented in a film intended to denounce misogyny and society's treatment of feminine expression in art.
Today, the original small-scale model of Hon remains on permanent display at Stockholm's Moderna Museet, serving as a lasting reminder of this groundbreaking moment in art history. The work stands as a testament to Saint Phalle's fearless artistic vision and her contribution to both feminist art and the broader pop art movement, challenging viewers to confront their assumptions about femininity, sexuality, and the role of women in society.
