Twineva brings Web 3 to the museum

A Web 2.0 pioneer, Godefroy Jordan is also a Web 3 pioneer. Together with his partners at Twineva, he is encouraging museums to take an interest in blockchain. 20 Mint au Carré guest, along with Minteed’s Jodwin Mitrany, explains what new technologies can bring to these esteemed institutions.

Twineva brings museums to Web3. Is it well summed up?

Twineva is a collective of digital and heritage veterans and experts who support art projects that want to move to the blockchain. We put ourselves in the role of co-producers because in NFT many of the approaches are reminiscent of what is happening in the audiovisual sector. Today, most artists do not know how to program. So very often these are projects where you have to connect artists with each other, collaborate, create new things like generative art.

Is this a new take on art?

Not so much… When Raphael was doing Renaissance architecture, or when the great artists of the 20th century united in architecture or for giant frescoes, they called on teams of craftsmen, architects, technicians to solve technological problems. It’s just new ways of collaborating. And two worlds that today completely ignore each other. Therefore, we position ourselves next to museums, institutions, foundations of the heirs of great artists. The actors who are watching all this see the train start and want to get on it, and we help them determine the strategies in accordance with their cultural policy.

Why do they want to come on board? fashion effect?

There are museums that want to regain the audience they lost due to Covid, others that want to reach a younger audience because they have an aging audience. Institutions that want to open up to innovation or contemporary art because they have fairly 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 the traditional fine arts. And yet, we will have to make a bridge. Our job is to be able to create strategies from existing collections.

By encouraging them to create NFTs?

NFT comes to restore ownership in a digital world where a work of art has lost its value because it has been copied ad infinitum. This is amazing! But if I take a work of art that does not sell itself, there is a paradox. In this case, selling a digital twin only makes sense if it gives access to more.

Do you have examples?

For example, ultra-high resolution scans… I don’t know if you’ve ever seen anything like that. It requires a financial investment because you have to close the museum and come with high-precision equipment, but suddenly you have an image that is not what you stole with your iPhone. You have an image inside which you can scroll down until you see an artist’s touch. It’s like a little robot going to Mars and exploring a new planet. But we also have the opportunity to provide more information. When there is a painting behind a museum, it has archives, sketches, academic articles. If tomorrow I don’t have problems with a place in my little museum in Metaverse, if I buy this digital twin, maybe I can display all these documents in a room that will please my friends or strangers who come to visit my exhibition.

Is this bonus logic?

Yes, we have another dimension – derivative products, we reinvent the postcard with one image repeated several times. Or we add artifacts and make sure that starting from one work, we create 5000 different versions to create profile pictures, trading cards. Finally, we have one last opportunity, which is collaborations. Have you seen the bear head painted by Leonardo da Vinci and sold at Christie’s? The Italian duo Hackatao happily recreated it. And when we visited the pre-sale show with Oculus glasses, we saw, as we walked up, this head coming out of the drawing, which was a digital work of art. There we create new works, really 100% digital. And all together it creates huge opportunities …

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