The French art museum publicized an alliance with Tezos Foundation that will result in its collections conversing with on-chain digital assets as well as blockchain-supported experiences.
The museum is located in Paris and boasts the biggest impressionist and Post-impressionist works of art collection globally. In 2021, the Musee d’Orsay had an issue as it experienced challenges attracting visitors amidst the prevailing doubt linked to Covid lockdowns.
French Museum Form Alliance with Tezos to Create On-Chain Digital Collectibles
According to some museum staff, the French citizens’ dedication to cultural enlightenment would conquer, meaning that attendance would go back to how it was before the pandemic. However, despite the doors being open, very few persons had turned up.
Guillaume Roux, Orsay’s director of development, stated that French citizens came less, especially the young ones. They realized the need to fight to get back the lost visitors.
The museum got a new president, Christophe Leribault, in 2021, whose primary goal was to open the Orsay to the public. He stated that speaking to everybody, including persons who had never visited the museum or those who may never visit, was vital.
Leribault assigned an internal team to assess blockchain and nonfungible tokens (NFTs). Since this new technology was evoking discussions in the world of art, the museum director sought to find a means to use it to attract newer and younger audiences.
Almost two years afterwards, the initiative’s outcome is apparent. On Friday, the museum issued a statement concerning a year-long alliance with the Tezos Foundation aimed at introducing blockchain-supported artworks as well as on-chain digital artists to talks with the museum’s exhibitions and collections.
To initiate the alliance, the upcoming exhibition’s visitors will receive on-chain digital souvenirs. The exhibition, ‘Van Gogh in Auvers-sur-Oise: The Final Months,’ will open on October 3 and analyze works by the famous Dutch painter in the final two months of his life.
Beginning next Tuesday, online collectors and museum patrons will have the ability to buy two digital souvenirs linked to the exhibition. The first is an augmented reality work that shows van Gogh’s last palette, while the other souvenir is a unique digital artwork made by KERU, a French blockchain culture project motivated by van Gogh.
The two pieces’ minting will occur on the Tezos blockchain and highlight gamified components that allow holders to win prizes. This includes invitations to opening galas at the museum as well as unlimited passes to the Orsay. 2300 nonfungible tokens will be available for €20 each (nearly $21).
Over the next year, the museum and the Tezos Foundation will partner in several educational programs and conferences to expose the museum’s audience to upcoming technologies, which include the blockchain.
Additionally, starting in early 2024, the museum intends to invite some digital artists who work on the blockchain to develop nonfungible tokens motivated by art pieces in the permanent collection of Orsay. At the Los Angeles County Museum of Art (LACMA), an identical initiative is presently taking place.
French Museum to Introduce New Technology
TriliTech is a London-founded Tezos’s adoption hub that partnered with Orsay to develop its blockchain-linked initiatives. Its Head of Art, Valerie Whitacre, believes the new programs are in harmony with its profound link to the Impressionist movement.
Whitacre claimed that the Musée d’Orsay possesses a lengthy ancestry of collecting artists that traditionalists may not have accepted. Besides, there is an opinion that experimenting with crypto arts, as well as how a person can engage art-consuming audiences in a new way, is linked to the museum’s overall history.
Despite the Orsay having returned to tourism levels witnessed before the pandemic, its staff believes the pandemic-initiated push to foreign technologies is a hopeful prospect.
The Orsay’s Roux stated that it was not a matter of the number of people that might be brought to the museum. Instead, it is a matter of the museum being aware of its time or a museum that speaks to new generations.
In spite of the return of big crowds to the Orsay, part of the urgency that affected the storied institution two years ago persists. Roux stated that they are a 19 th -century museum. Failure to introducing initiatives to converse differently and represent differently will result in a very old-century museum.