The thistle is always the first to return
04/03/2025
6 min reading time
Weeds are usually to be found on the edges of the inhabited world – this is something attested to, among others, by the thistle in Troika’s “Anima Atman”. Why do tenacious plants captivate art?
Lorem Ipsum
Weeds are undesirables. But for some they are also the nucleus of a utopia, just as if there were good and evil plants, as if weeds were political. With their round, light-purple blossoms, thistles, for example, are beautiful to behold, but evolution has equipped them with chalky spines to protect the plants against predators. The dryer the climate, the more spines the plants have. Biennial thistles offer bees an especially great amount of nectar, provide seeds for birds, and leaves on which butterfly larvae feel at home. Many types of thistles, such as the Cirsium vulgare, which is native to Europe and Asia, spread far beyond their original habitat and displace other species.
Thistles are classified as pioneers, as so-called ruderal species, derived from the Latin rudus, which roughly translates as rubble. This is a bit misleading, as the classification simply means that the thistle grows where an ecosystem has been destroyed, and that may be an entirely natural occurrence – for example, on a mountain slope after a volcanic eruption or after a forest fire. Moreover, they flourish where the soil is rich in iron, phosphates, and nitrogen. Where there is nothing left, the thistle is always the first to return.


Lorem Ipsum
Ruderal plants grow wherever nature was destroyed by humans, or so biologist Carl Linnaeus observed in his “Systema Naturae”. That was back in 1758, meaning before the world was industrialized. A few years on, and fragments and ruins congealed in art to form images and stories of melancholy and past grandeur. Where there are ruins, weeds will not be far away. In 1796, Frenchman Hubert Robert painted buildings that were still standing, such as the Louvre in Paris, in decay, and, next to broken vases and people in strangely antiquated robes, a crown of thickets symbolizes the aestheticized decline. A little later, German historian Ferdinand Gregorovius described the Colosseum in Rome as a stone vase, as here shrubs grew that were otherwise not to be found anywhere in Italy – presumably because the seeds were introduced by animals from Africa that were forced to fight in the arena. Weeds are more than just cosmetic; they are also a sign of places that have wistfully been half-forgotten.
That said, soon there was no place left for rampant wild growth in the cities and gardens of Modernity. Apparently, in the 19th century the Paris municipal administration had lichen stripped off trees. Leipzig medical doctor Daniel Gottlob Moritz Schreber not only wanted weed-free allotment gardens but also a new type of human, made healthy and virtuous by ample time out in the fresh air. Controlling weeds became the task of gardeners, urban planners, and in the case of Schreber the object of a moral mission. Of course, the task was an impossible one, as plants are resilient and endure extreme heat and cold, dry and wet periods.

The thistle as animate being
Efficiency and public hygiene became the yardstick for Modernity. Yet art and science were soon telling new tales about neglected vegetation, and this has been the case not just since the term Anthropocene started to gain sway in the world of culture. A “reappraisal” is the order of the day, and that also includes something seemingly impossible: Humans are expected to become aware of their destructive role in ecology and at the same time remove themselves from the center of their own image of the world. The installation entitled “Anima Atman” by the Troika artists’ group may emphasize its artificial nature, but it speaks precisely of this reappraisal. The thistle grows in a bed of silica that covers the floor like rubble; the LEDs flicker. Nevertheless, the title of the installation includes the Latin word for the soul, “anima”, just as “atman” is Sanskrit for being/creature. Thus, the thistle is raised above its status as mere object, as if it were part of a networked mind and capable of sensation.
Actually, or so Parisian film studies expert Teresa Castro writes, we need to find common ground, a space of mutual recognition of human and non-human life. What she has in mind, first and foremost, is the representation of weeds as actors in a world that has long since been full of weeds. What that means becomes clear in Anna Lowenhaupt Tsing’s 2015 book “The Mushroom at the End of the World”, for the anthropologist tells the story of the Matsutake mushroom that grows wherever forests have just been cleared and in places of great destruction. Legend would have it that a Matsutake mushroom was the first to grow in Hiroshima after the city had been destroyed by the atomic bomb. The mushroom is a pioneer species, and this ruderal is also a delicacy and therefore expensive to buy. It is hard to cultivate it, which is why it had to be harvested by often underpaid migrant workers.
This, so Tsing, is “third nature”. “First nature” describes purely ecological relations, “second nature” the capitalist transformation of the world. Third nature is thus everything that remains alive despite capitalism. One should not allow oneself to be deceived by simple narratives of progress, she continues, and should instead imagine third nature as a polyphonic future: a little bit of utopia on the forgotten edges of industry and capital.
