The Tragedy of the Commons

This installation is comprised of augmented kinetic sculpture that serves as the dynamic foraging area for a colony of between fifty and one hundred thousand Atta  (aka leafcutter) ants. Our research of this species led us to the wide range of applications of their impressive foraging schemes, specifically in the world of finance.  We model a behavior that optimizes collaboration and cooperation towards the good of the colony is modeled in order to predict market tendencies, bankruptcies, and other forms of investment that promote personal interests.

The sculpture allows the colony access to selected pairs of true or faux food sources with poetic significance: the colony must choose between a plentiful source of fresh leaves that don’t smell quite right (eucalyptus, a natural deterrent), or only a few seductive rose pestles what will dry quickly and provide little nutrition; or between pieces of thin plastic with an attractive texture, and a pocket world atlas with colorful pages and the smell of orange extract.  In every case, the ants optimize the seemingly difficult decision and do what is best for the community; the process is rapid, theatrical and in the case of this works highly visible.

 

 

artistsRobin Meier, Ali Momeni
curatorsMarc Bembekoff
placePalais de Tokyo
tags
castMarc Bembekoff
published16. 1. 2012
languageČesky / English
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The Tragedy of the Commons
The concept of the exhibition is based on the ideological convergence of the work of Catherine Radosa and Jaroslav Varga, which consists in revealing the physical and symbolic traces of the past. Both artists examine these relics of bygone times and eras from the perspective of collective memory and the mechanisms of its storage. A vacant lot is an empty space, a gap left by a past situation that can be filled again. The installation Colonne / Révolution captures the constant cycle of the monument in a triple projection. The period of the revolutionary Paris Commune is still a problematic period in France, similar to the period of socialism in our country: it has been and continues to be reinterpreted, tabooed, or marginalized.
The output of that research varies from works in the public space and architectural structures to sculptures and smaller work. Within this undefined area, the duo developed a practice that thematizes the friction between function (architecture) and autonomy (image) in an increasingly emphatic manner, and is centered around the central question: at what point does the daily experience of space turn into an aesthetic one?