Key facts: They plan to bring to the virtual world everything that is applied in traditional art galleries. Even if they sell their works, the artists keep the copyright on what they offer. For artists who want to enter the non-fungible token (NFT) market and monetize their works, the main thing is to appeal to the connection with the community in the artistic environment, in addition to observing the ecosystem before entering it. . This is recommended by digital artists who gathered at the first edition of the ETHSantiago 2022 event, held this Friday, September 23, in the capital of Chile. According to Benjamín Grandi, who is dedicated to art and offers it on NFT platforms, the The collectible token market is “much more powerful” than just selling works. “It has the character of being a revolution in the art market,” he suggested. In that sense, he specified that it is necessary to connect with the people and the environment that exists around the works before proceeding to offer them. «No one arrives imposing their art on the market, arrogantly. That brutal overnight success is rare,” he said. For him, that principle seen in art galleries and the traditional market must be applied in the virtual one: «Getting on Twitter, meeting people, without minting (coining) any work, with patience, there is no rush. This technology is super early », he recommended. And he remembered that the sale is not always guaranteed, so deprives the persistence to be able to start earning income from digitized art.
Grandi agreed with César Vázquez, also a digital artist and developer, who recommended to those who want to enter the NFT market, Let them first observe the ecosystem.
«It is not necessary to put a Chilean peso to observe a market, a system, and all the gear. And then if you decide to go in, you have to keep in mind that your security is personal », he recalled.
From right to left: Benjamín Grandi and César Vázquez. Source: ETHSantiago.
“The author retains his rights”
During the conversation, the subject of copyright of tokenized works of art was touched upon. According to Benjamín Grandi, these titles are not sold when the work is offered. “You keep that 100%. The author always maintains his rights », he indicated. In this sense, he explained that who buys an NFT (or a digitized work), only acquires a project of that artist, beyond the concrete digital work. “There is the digital object, but when you buy it you are betting on me as an artist and adding value to the work (…) NFT art fulfills that even better,” he coined. What Grandi says is related to a study by Galaxy Digital, which establishes that a buyer of an NFT is not the owner of the file (or work) that represents that digital token, since the only ones who retain ownership of the rights are the issuers. , as reported by CriptoNoticias. For César Vázquez, NFT art is also the representation of the idea of crypto-anarchism. “To create liquid markets for anything that can be put into words or photos. That technology exists, we can use it, and we have to use it and love it for that very reason,” he said. As it was, the artists urged others to enter the NFT market. This, taking into account that there is a community of creators who support each other. “There is an important window. It’s time to get on this wave and ride it bravely,” Grandi concluded. The speakers, natives of Chile, reaffirmed in this way that the NFT market helped to give significant value to digital art. This conception is also shared by Julián Sileiko, a digital artist from Argentina, who values the narrative of digitized property, as reported by CriptoNoticias.