A pioneer in Web 2.0, Godefroy Jordan is also a pioneer in Web 3. Together with his partners in Twineva, he is pushing museums to take an interest in blockchain. Guest of 20 Mint au Carré, together with Jodouin Mitrani of Minteed, he explains what new technologies can bring to these venerable institutions.
Twineva moving museums to Web3. Is that a good summary?
Twineva is a collective of veterans and experts in digital and heritage, supporting artistic projects that want to go on the blockchain. We place ourselves in the role of co-producers, because in NFT many approaches are similar to what happens in the audiovisual sector. Today, most artists can’t code. So these are very often projects where you have to connect artists with each other, make collaborations, produce new things like generative art.
Is it a new way of looking at art?
Not so much… When Raphaël dealt with architecture during the Renaissance, or when great artists of the XXᵉ century united in architecture or for gigantic frescoes, they called on teams of craftsmen, architects, technicians to meet technological challenges. It’s just new ways to collaborate. And two worlds which today totally ignore each other. We have therefore positioned ourselves next to museums, institutions, foundations for the heirs of great artists. Actors who see all this see the train starting 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 regain the audience they lost with Covid, others that want to reach young audiences 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 task is to manage to create strategies based on existing collections.
By encouraging them to create NFTs?
NFT comes to restore a property right in a world, the digital one, where the work of art had lost its value because it was endlessly copied. It is fantastic ! But if I take over a work of art which in itself is not for sale, there is a paradox. In this case, it only makes sense to sell a digital twin 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 bring in high-precision equipment, but all of a sudden you have an image that is not the one you stole with your iPhone. You have an image inside 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 opportunity to provide more information. When a museum has a painting behind it, it has archives, sketches, university papers. If tomorrow I don’t have a space problem in my little museum in Metavers, if I buy this digital twin, I might be able to display all these documents in a room that will delight my friends or strangers who come to visit my exhibition.
Is it a bonus logic?
Yes, we have another dimension which is derivative products, we are reinventing the postcard with a single image repeated several times. Or we add artifacts and we make sure that starting from a single work we create 5,000 different versions to make profile pictures, trading cards. Finally, we have one last option, which is collaborations. Have you seen the bear 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 coming out of the drawing, which was a digital work of art. There we create new works, truly 100% digital. And all this creates enormous opportunities…