Download Scientists Pioneer Biotech Techniques

•NEWS RELEASE•
EMBARGOED: 3 p.m. EST, Weds., Nov. 3, 2004
North America contact: Terry Collins, 416-538-8712; 416-878-8712 (mobile)
UNU-BIOLAC Director Jose Luis Ramirez is available for advance interviews. Please call 416-538-8712 or 212963-6387 or email [email protected] to arrange. The first-ever international symposium on preserving
artifacts in tropical climates through biotechnologies will take place in Caracas, Venezuela Thurs.-Fri. Nov. 4-5.
For full details: http://foroconservacion.dsm.usb.ve/temas.html
Scientists Pioneer Biotech Techniques
to Halt Infestation of History, Art Treasures In Tropics
UN University program in Venezuela – BIOLAC – co-hosts first symposium
on preserving cultural heritage by applying ‘state-of-the-art’ science
The use of biotechnologies originally intended to remedy crop infestations and other agricultural issues is being
pioneered in the protection of priceless art and historical archives in tropical countries from decay caused by
insects, heat, humidity and other natural causes.
A specialized UN University program in Venezuela, UNU-BIOLAC, is leading the way in the application of
biotech techniques to extend the life of some of the world’s most important cultural heritage.
Art preservation protocols and strategies have largely been devised in northern countries with temperate
weather. But the climate of the tropics and sub-tropics presents different, more complex challenges, including a
huge variety of insects, bacteria and fungi that attack important sculptures, paintings, artifacts, photos,
documents, records and books.
Experts say climate and insect-induced problems in Venezuela alone has already destroyed an estimated onethird of the country’s artistic heritage.
UNU-BIOLAC, focussed on biotechnology in Latin America and the Caribbean, is breaking ground in the
region by using DNA and other biotechnologies to identify specific papers, woods and other materials used for
various art and other purposes in past centuries in order to devise more effective preservation strategies.
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UNU-BIOLAC used DNA sequence technology, for example, to identify insects and bacteria eroding
three wood types, including one from a temperate climate, used by colonial-era artists in Venezuela to
create a likeness of the Madonna. It is now researching the promise of bacterial toxins (BTtoxin,
normally used to create insect-resistant crops) as a biological way to destroy and repel the pests,
avoiding the traditional application of invasive technologies that often damage an artwork’s colour and
structure.
Determining the species of plants and trees used to produce paper and
artists’ materials long ago is information vital to effective protection and
preservation of their works.
The research has already attracted strong interest from curators
worldwide; UNU-BIOLAC co-hosts the first regional symposium on the
topic Nov. 4-5 at Simon Bolivar University and the Institute for
Advanced Studies (IDEA) in Caracas: “Cultural Heritage Conservation
in Tropical Zones – Preventive Conservation, Biotechnology and
Education Programs in Conservation.”
A new booklet, sponsored by Mercantil Bank Foundation, has been
produced in Spanish with an expanded new English edition in progress.
“It is not uncommon for unprotected wooden colonial art in this region to collapse, the sculpture slowly eroded
by nature through insects, bacteria and fungus,” says scientist Jose Luis Ramirez, Director of UNU-BIOLAC.
“There are millions of bacteria and fungi causing a disaster throughout the developing world. Biotechnology
allows us to identify exactly the material used by an artist, the specific pest that has invaded or threatens it, and
to customize the preservation treatment required.”
Among the historical records under threat are the letters, decorations and archives of “El Liberator,” General
Simon Bolivar, called the "George Washington of South America." His victories led to independence for
Bolivia, Panama, Colombia, Ecuador, Peru, and Venezuela.
Stored in Bolivar’s native city of Caracas, “these records are really compromised,” said Dr. Ramirez.
“Something has to be done soon to save them, by identifying the natural toxin required to kill the insects
decaying the papers and artifacts.”
Tahia Rivero, curator of the art collection held by the Banco Mercantil Foundation, says many important
paintings now are known only through art books. For example, just 13 works remain from the 20-year
2 – Biotech and art in tropics
career of historic 18th century Venezuelan artist Jose Lorenzo Zurita. The rest have been destroyed
through decay.
She estimates climate and insect-induced problems in Venezuela alone has destroyed one third of the country’s
artistic heritage (with a similar amount lost to other causes). Particularly vulnerable are ancient religious
wooden sculptures which, if not properly preserved, can eventually crumble “like a saltine cracker,” says Ms.
Rivero.
The symposium Nov. 4-5 has attracted more than 100 registered curators and students and may lead to
the creation of a post-graduate university program to help foster the application of biotechnology
preservation techniques in museums and archives.
Established by the U.N. General Assembly in 1973, UNU is an international community of scholars engaged in research,
advanced training and the dissemination of knowledge related to pressing global problems. Activities focus mainly on peace
and conflict resolution, sustainable development and the use of science and technology to advance human welfare. The
University operates a worldwide network of research and post-graduate training centres, with headquarters in Tokyo.
3 – Biotech and art in tropics