“We will have to build a bridge between museums and new artists”, assures Godefroy Jordan

Godefroy Jordan, a pioneer of Web 2.0, is also a pioneer of Web 3. With his partners in Twineva, he stimulates museums to take an interest in blockchain. Guest of 20 Mint au Carré, along with Jodouin Mitrani of Minteed, he explains what new technologies can bring to these venerable institutions.

twineva shifts museums to Web3. Is that well summarized?

Twineva is a collective of digital and heritage veterans and experts supporting artistic projects that want to go on the blockchain. We put ourselves in the role of co-producer, because in NFT many approaches resemble what is happening in the audiovisual sector. Today, most artists cannot code. These are very often projects in which you have to associate artists with each other, enter into collaborations, produce new things such as generative art.

Is it a new way of looking at art?

Not so much… When Raphaël did architecture during the Renaissance or when great artists of the 20th century united in architecture or for gigantic frescoes, they called on teams of craftsmen, architects, technicians to take on technological challenges. They are simply new ways of working together. And two worlds that totally ignore each other today. We have therefore positioned ourselves next to museums, institutions and foundations of heirs of great artists. Actors who see all this, see the train depart and want to get on board and we help them define strategies in line with their cultural policy.

Why do they want to come on board? Is it the fashion effect?

There are museums that want to reclaim the public lost by the Covid, others that want to reach a young audience because they have an aging audience. Institutions that want to open up to innovation or contemporary art because they have quite traditional collections. Many new artists have already created codes for themselves. Often from 3D, video games, street art. We are sometimes very, very far from traditional visual arts. And yet we will have to make the bridge. Our job is to create strategies from existing collections.

By encouraging them to create NFTs?

The NFT comes to restore a title to property in a world, the digital one, where the artwork had lost its value because it was copied ad infinitum. It is awesome ! But when I take over a work of art that is itself not for sale, there is a paradox. In this case, selling a digital twin only makes sense if it gives access to more.

Do you have examples?

Ultra high definition scans for example… I don’t know if you’ve ever seen that. It requires a material investment because you have to close the museum and come up with very accurate equipment, but suddenly you have an image that is not the one you stole with your iPhone. You have an image that you can scroll down until you see the painter’s touch. It feels like a little robot going to Mars and exploring a new planet. But we also have the option to provide more information. When a museum has a painting behind it, it has archives, sketches, scientific papers. If I don’t have a space problem tomorrow in my little museum in the Metavers, if I buy this digital twin, maybe I can display all these documents in a room that will delight my friends or strangers who come to visit my exhibit.

Is it a bonus logic?

Yes, we have another dimension, that of derivatives, we reinvent the postcard with a single image repeated several times. Or we add artifacts and make sure we create 5,000 different versions from one work to create profile pictures, trading cards. Finally, we have one last possibility, these are collaborations. Have you seen the bear’s head, drawn by Leonardo da Vinci and sold at auction by Christie’s? Italian duo Hackatao had fun recreating it. And when we visited the pre-sale exhibition with Oculus glasses, as we approached, we saw this head come out of the drawing and that was a digital artwork. We make new works there, really 100% digital. And all in all, this creates huge opportunities…

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