. Photo: Peter Kaiser, © Sarah Meyohas, courtesy of the artist and Marianne Boesky Gallery, New York and Aspen.minted her first 200 Bitchcoins. The blockchain-verified tokens were intended to operate as art as much as digital currency, which collectors could hold, sell, or trade for art by Meyohas—a conceptual transaction that tied the speculative worth of cryptocurrency with the subjective value of art.
However incisive, Bitchcoin could very well have been a low-key conceptual endeavor, if not for the sensation NFTs set off in 2020. Then again, amid the resurfacing of historic blockchain-backed works, Meyohas’s name was rarely invoked in a space and marketplace dominated by top-selling, always-online male artists such as Beeple.But no more.
The crypto artworks join the contemporary art museum’s sizable collection of new-media works, which the Pompidou has been amassing since the 1970s. For curators Macella Lista and Philippe Bettinelli, who are overseeing the Pompidou’s NFT endeavors, the acquisition entirely squares with a museum dedicated to “addressing the impulses of innovation,” they told Artnet News over email.
The museum plans to present the works as part of its permanent collection in spring this year . This showcase will occupy the fourth floor of the Pompidou where crypto art will be framed as part of the Conceptual and Minimal art traditions. As Lista and Bettinelli emphasized, “NFTs didn’t come ‘out of the blue.’”. Photo: Kunstgiesserei St Gallen AG, courtesy of the artist and Zien.
While the acquisition is heavy on new projects—ranging from the conceptual, such as Agnieszka Kurant’s
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