Cellsbutton#04 – Invisible Cells. Yogyakarta International Media Art Festival July 22nd, 2010

Good news everyone. We are being invited to the Cellsbutton#04 Media Art Festival in Yogyakarta, Indonesia. Even better news – thanks to the Austrian Government and the BMUKK – the flight is paid for by Austrian Tax Euros. Thank you.

Nice to see many friends amongst the participants, including the omnipresent Hans Bernhard from Ubermorgen, Marc Dusseiller, Michiko Tsuda and Andreas Schlegel. Looking very much forward to meet the other participants too.

We will be doing a Common Flowers Workshop on Friday, July 30th. It’s called cellsKIT + intelligent bacteria and will be held in the Microbiology Lab & Tissue Culture Lab at the Bulaksumur Kampus of the Gadjah Mada University [UGM] :

30 July 2010 | Friday
cellsKIT + intelligent bacteria
Venue: Gadjah Mada University [UGM] Microbiology Lab & Tissue Culture Lab
Kampus UGM Bulaksumur
Time: 10.00 – 14.00 WIB
+ “biohack – biopiracy in developing countries” discussion led by Prof. Irfan D. Pridjambada [ID], Nur Akbar Arofatullah [ID], Agus Tri Budiarto [ID]
+ “cellsKIT – hackteria” workshop by Marc Dusseiller [CH] – dusjagr labs – hackteria
“DIY webcam for digital microscope and haemacytometer bacteria counter”: – extensive collaborative works, research & development
+ intelligent bacteria: “common flowers” by Georg Tremmel – BCL [AT | JP] DIY plant tissue culture workshop & “common flowers” presentation

So, the Marmite and the flowers are packed, next stop Singapore, next update Yogyakarta.

Common Flowers at the Interferenze Seed Tokyo 2010 Festival June 25th, 2010

‘Common Flowers – Flower Commons’ will be shown at the Interferenze Seed Tokyo 2010 Festival at VACANT in Harajuku, Tokyo on June 25th & 26th. Yes, it’s a small festival, but a very nice one.

We are very happy to be amongst other artists and friends like Hajime Narukawa, Akihiro Kubota, Takahiro Yamaguchi, Kazuhiro Jo, Tomotaro Kaneko and Natalija Robovic+Toru Fujita.

Opening times are 12h – 21h, both Saturday and Sunday from 18h onwards are live music performance. Should be good.

We should be there most of the time presenting our tissue-cultured carnations and roses. (Let’s see what the heat does to the tissue-cultures).

Full report to follow.

ComFlow WO @ Coded Cultures / Japan October 16th, 2009

We are going to present/exhibit the Common Flowers / White Out project at Coded Cultures Japan in Yokohama.

Our presentation will be at about 18h on Saturday, 17th October. Drop by if you want to know more about the Common Flowers, Flower Commons, “excorcising” DNA and about our encounter with the Austrian Federal Ministry for Health / Section for Gene-Technology (Bundesministerium für Gesundheit / Abteilung für Gentechnik).

Should be fun.

codedcultures

More Details from the Press Release:

CODED CULTURES – Exploring Creative Emergences
Japan Festival (Yokohama / Tokyo)

http://www.codedcultures.net

Binational Festival to explore new artistic creative Ability-Profiles within media integrated Delineation Cultures
(Official Part of Austria – Japan Year 2009)

2009.10.14 – 2009.10.18
Tokyo National University for the Arts (Yokohama / Bashamichi Campus)
Yokohama Creativecity Center (YCC / Bashamichi)
Club UNIT (Tokyo / Ebisu)

ADMISSION FREE

Talk Events: 2009.10.15 – 2009.10.16, 14:00-18:00
(Tokyo Geidai, Bashamischi Campus / Yokohama)
Opening Reception: 2009.10.16, 18:00 (Yokohama Creativecity Center)
Music Night: 2009.10.16, 23:30 (UNIT, Ebisu/Tokyo)
produced by www.minimaltokyo.com
Artist Presentations: 2009.10.17, 13:00-22:00 (Yokohama Creativecity Center)
Symposium: 2009.10.18, 13:00-20:00
(Tokyo Geidai, Bashamichi Campus / Yokohama)

ABOUT:
CODED CULTURES is a binational festival (Austria – Japan) as part of the official »Austria-Japan Year 2009«. Its aim is to explore new artistic practices and creative ability profiles within media integrated project-cultures and digital media related arts, focusing on Japan and Europe. The main focus is to investigate the exchange of creative cultures and to give artists, curators, scientists from the field of new media related fields a platform to discuss and present their works and ideas. The festival »CODED CULTURES – Exploring Creative Emergences« is addressing questions regarding the codes of creative cultures and artistic practices, which are based on new trans-disciplinary and hybrid developments of culture and art under the conditions of a contemporary digital media-age and transformations of related artistic explorations.

PARTICIPANTS:
5VOLTCORE (Emanuel Andel & Christian Gützer, Artists – Austria), BCL (Georg Tremmel & Shiho Fukuhara, Artists – Austria/Japan), Dominique Chen (Researcher/Producer – Japan), exonemo (Yae Akaiwa & Kensuke Sembo, Artists – Japan), Mathias Fuchs (Artist/Critic – Austria), Masaki Fujihata (Artist – Japan), Ryota Kuwakubo (Artist – Japan), Elsy Lahner (Curator – Austria), Walter Langelaar (Artist – Netherlands), Yuko Mohri (Artist – Japan), Ujino Muneteru (Artist – Japan), Ivan Poupyrev (Researcher – US), Lorenz Seidler (Artist/Researcher – Austria), Sabine Seymour (Designer – Austria), Yukiko Shikata (Curator – Japan), SHIMURABROS. (Yuka & Kentaro Shimura, Artists – Japan), Christa Sommerer & Laurent Mignonneau (Artists/Scienctists – Austria), UBERMORGEN.COM (Hans Bernhard & lizvlx, Artists – Switzerland/Austria), Hiroshi Yoshioka (Curator/Philosopher – Japan).

Common Flowers at Ars Elecetronica September 2nd, 2009

Interview conducted and provided by the Biopresence Press Office. Part 1 Part 2

Q. The Common Flowers Project is on display as part of this year’s Ars Electronica, a Media Art Festival in Linz, Austria. How do you feel being part of that festival?

Georg Tremmel: It’s great to be invited to show the Common Flowers at such a prestigious festival. We are also very happy, that the project was awarded an ‘Honorary Mention’ in Hybrid Art Category.

Q. Your Project deals with genetically-modified blue carnations. Can you tell me a bit more about them?

GT. Yeah. We think, that the blue GM carnations are very relevant and very special flowers. As far as we know, they are the very first genetically-modified product, which is neither animal feed not human food. It is purely aimed for aesthetic consumption. We believe that this represents a shift in the perception of GM plants, and that’s why we found the highly interesting in the first place.
The plants themselves are the result of decade long research by Florigene, an australian plant biotech company, which was acquired by the japanese beverage company Suntory some year back. They managed to make a couple of varieties of the blue carnation, ranging from a very light blue hue, to some quite dark blue varieties. In addition to the gene for colour, they also introduced a gene that prolongs shelf-live. The last for about 3 weeks, which is quite long for cut-flowers.

Q. But would it be easier to colour the flower with inks? Wouldn’t that be much easier, that breeding a special variety?

Shiho Fukuhara: If you would only make a couple of flowers, the ink process you mentioned would be faster, but my guess would be, that on an industrial scale it would not really make sense to use ink colouring. Too much hassle, too expensive, and probably the flowers would also not last so long.
But once you manage to create a transgene plant, which looks and behaves to your desire, it is then quite easy to duplicate and breed that plant. Really the same as growing any other non-GM plant. And don’t forget, that the cut-flower business is a huge global logistic operation, just think of the flower auctions in the Netherlands. And Suntory figured, that introducing novel varieties could be very profitable. Very profitable indeed.

Q. There are other blue flowers. Why is it not possible to conventionally breed blue carnations?

SF. As far as I know, some flowers are missing some genes and pathway, and these missing bit prevent them from making blue pedals. Obvious carnation, but also roses don’t come in blue.

Q. So they managed to make the blue carnations, but isn’t it illegal to sell genetically modified products? Especially in Europe the public seems to be very sensitive about this issue?

GT. Well, they spent a lot of time, effort and probably money to conduct trials and experiments that proved that the flowers are harmless and pose no risk to animals, humans or other plants. They were granted permission to grow, sell and distribute the flowers in their key markets, including Japan, the EU and the US.
Therefore, the plant are 100% legal, despite being genetically modified.

Q. Is it known, which genes from which plants were used to change the carnation?

GT. I believe they used a gene from Petunia to express the blue colour. No idea, what they used for the extended shelf-life, but I guess this could be easily found out. All the information regarding the genetic-manipulation of plants is freely accessible.

Q. And with your “Common Flower” project you are growing the carnation yourself?

GT. Exactly. We buy the flowers from a flower shop, cut them in small pieces, sterilize them and grow the in sterile plant containers.

SF. One could say we are bringing the flowers back to life.

GT. Yeah. Kind of. Cut flowers are basically dying a slow death from the moment they are cut. But if they are kept cool and with enough water they can survive quite a while. At least some weeks to get to the show and to the buyers house.
Carnations also come with so-called axillary buds, that are little buds that grow between each leaf and the stem. These are the most promising part for re-animation.

Q. Sounds quite complicated. Surely you must have a biotech background and a lab to your disposal…

GT. Actually no and no. We neither have a biotech background not a lab. But we have a strong interest in learning and doing basic lab work. Although our lab is the kitchen and our clean-room is an inverted plastic box.

SF. For plant containers we use baby food jars. They are ideal…

GT. … Or sake cups. The “One Cup Oseki” is particularly nice. They have nature scenes printed on the backside of the label. So when our plant are growing they can perceive images of beautiful nature.

SF. Don’t be silly.

GT. And the protocols and lists of ingredients can be downloaded from our website. It’s quite easy to get all the necessary stuff, the most difficult parts are the plastic caps for the baby food jars. They are a bit special, but they are also super cheap, and once you buy them they last forever.

SF. It’s very important for use to share and communicate this technology. We want to learn it and pass it on. Ideally everyone with interest and a bit of time should be able to grow their own blue carnations.

Q. The project title is “Common Flowers – Flower Commons”. Can you tell me a bit more about the second part, about the “Flower Commons”. What is meant by that?

GT. Common Flowers refers to the process of taking ownership of the very ‘special flowers’ that are the GM blue carnations. The goal is somewhat to take them down from their pedestal and make them ordinary. Flower Commons is the next logical step. Once we have the flowers, we can obviously not keep them in the containers forever. We realized pretty soon, that Suntory actually did do the dirty and difficult work for us. They got the permission to grow them, they obtained the proof that the plants are harmless.
Therefore we decided to set the flowers free. We want to create feral population of genetically modified blue carnation. In fact we already created some Flower Commons in Japan, Germany and also Austria. We also made a nice map of the locations, but we decided to keep it hidden for a bit longer, and see how the public reacts to the project here at the Ars Electronica.

Watch out for Part 2 for more about Bio-Sharing, Bio-Hacking, the legal challenges and the meaning of “BCL”.

PARTS UNKNOWN October 10th, 2008

PARTS UNKNOWN
Shiho Fukuhara will present her new work “PARTS UNKNOWN” at The Beautiful Children, an exhibition curated by Joakim Borda and Colm Lally. The project was created during her residency at AMBIENT.VISTA in London. The event is part of The Wharf Road Project organised by V22.
DATE: Friday 17 October, 2008
LOCATION: 50-60 Wharf Road, London N1 7RN, UK