A sculpture of a scoop of cream, topped ith a cherry, a drone and a fly by Heather Phillipson
The two artworks have been chosen to reside at the landmark spot in London – currently home to a bronze, thumbs up sign – in 2018 and 2020.
Lamassu, a winged bull which guarded the entrance to the Nergal Gate of Nineveh from 700BC, will be remade out of empty date-syrup cans from Iraq.
The deity was destroyed, along with other artefacts in the Mosul Museum, by terror group IS in 2015.
It's clear that these two hugely contrasting artworks stand out for their visual impact as well as their unique ability to make the viewer stop and think
US artist Michael Rakowitz has been attempting to remake over 7,000 archaeological artefacts looted from Iraq, in a project entitled The Invisible Enemy Should Not Exist, since 2006.
He said that the date-syrup cans represented the once-thriving industry in Iraq decimated by war.
The deity will go on display in 2018 and will be followed by The End, by British artist Heather Phillipson – a sculpture of a scoop of cream, topped with a cherry, a drone and a fly – in 2020.
The deity was destroyed in the Mosul Museum
The drone will remain static but passers-by will be able to use their mobile phones to live-stream what the camera-equipped drone can see.
The work "explores the extremes of shared experience, from commemorations and celebrations to mass protests", representing "exuberance and unease".
The "giant, unstable load" on the top of the plinth is "a monument to hubris and impending collapse".
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The drone will remain static
The plinth is currently home to Really Good, a 23ft (7m) high hand, cast in bronze and giving a thumbs-up sign, which has divided opinion and has been dubbed phallic by some onlookers.
Some of the most memorable Fourth Plinth sculptures over the years have included Marc Quinn's sculpture of Alison Lapper, who was born with no arms, Yinka Shonibare's scaled-down replica of HMS Victory, contained in a glass bottle, and Katharina Fritsch's blue fibreglass sculpture of a cockerel.
Antony Gormley created One & Other in which people – including a man who posed naked – took it in turns to spend an hour on the plinth.
Rakowitz and Phillipson were selected from a five-strong shortlist
Rakowitz and Phillipson were selected from a five-strong shortlist by the Fourth Plinth Commissioning Group.
Justine Simons, deputy mayor for culture and creative industries, said: "It's clear that these two hugely contrasting artworks stand out for their visual impact as well as their unique ability to make the viewer stop and think.
"The Fourth Plinth is the world's most loved and talked-about public art platform – it is pioneering, inventive and surprising, and above all, shows that London is open to creativity and ideas from around the world."
The deity will go on display in 2018
Ekow Eshun, chair of the Fourth Plinth Commissioning Group, said of the winning works: "Their works are wondrous, striking and deeply engaging.
"The new commissions will proudly continue the legacy of the Fourth Plinth in putting world-class contemporary sculpture at the heart of London."
The Fourth Plinth is funded by the Mayor of London, with support from Arts Council England.