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Vincent van Gogh is one of the world’s most celebrated master artists to exist in our age. With the transforming scope of traditional industries, the Van Gogh Sites Foundation has exclusively partnered with Appreciator.io, a global web 3 platform from China to bring Van Gogh’s life, art, and stories to be appreciated for future generations.

文森特梵高是这个时代最著名的艺术家之一。随着传统产业的转型，梵高文化遗址基金会与中国的web 3.0平台Appreciator.io独家合作，为未来的网络原住民带来梵高的生活、艺术和故事。

On October 10th, in the Mandarin Oriental Hotel in Hong Kong, Appreciator.io unveiled the Vincent van Gogh 39 NFT collection to the world together with Frank van den Eijnden, Director of the Van Gogh Sites Foundation, Tomas Snels, the creative lead & creator for the NFT and collectibles, Emily Cheung, the founder & CEO of Appreciator.io, and her international team. The collaboration aims to harness blockchain technology to support the preservation of treasured cultural heritage and also to nurture the development of artists from all over the world. 

10月10日，在香港文华东方酒店，Appreciator.io向世界揭开了文森特梵高 39 NFT 系列的面纱。梵高文化遗址基金会总监 Frank van den Eijnden、创意总监/创作者 Tomas Snels，Appreciator.io 的创始人兼首席执行官 Emily Cheung 和她的国际团队一起在现场见证。这项合作旨在利用区块链技术来支持保护珍贵的文化遗产，并扶持来自世界各地的艺术家的发展。

The Significance of Van Gogh NFTs

梵高 NFT 的意义

While most of Van Gogh’s works have been analyzed by art enthusiasts from all over the world, many aspects of his early years in his homeland that helped define him as a master artist are often forgotten or unknown. This collection reimagines the narratives from Vincent’s work and life from the perspective of 39 distinct monuments spread throughout his birthplace in Brabant, the Netherlands. Bring together over 15 local collaborators from the region and over 1000 hours committed to the creation of the first 6 NFTs and collectibles, the team will continue to carry on Van Gogh’s heritage to the world.

梵高的大部分作品都曾被世界各地的艺术爱好者分析过，但他早年间在故乡的经历却常常被人遗忘，不为人知。正是这些早期的经历定义了他的艺术风格。此次揭幕的这个系列从分布在荷兰布拉班特（梵高的出生地）的 39 座不同纪念碑的角度重新构想了文森特的工作和生活叙事。该团队汇集了来自该地区超过15名的当地合作者，并投入了 1000 多个小时致力于创造前 6 个 NFT 和收藏品，在将来这个团队也将继续向世界传承梵高的遗产。

NFTs are a new innovation in the way people can experience Vincent’s life in the contemporary era. The NFT collection aims to immerse more audiences and engage them with a multi-faceted experience to appreciate the key memories and places that were seen and felt through Vincent’s soul in his homeland. When thinking of NFTs, most people may imagine a static copy of an image, however, it has been demonstrated through the launch that it is much more complex and innovative than thought. The NFT is created using multiple mediums such as 3D scanning & printing, 3D rendering, music production, woodworking, 3D printing, silver molds, and more that are inspired by the nature, monuments, and environment of Vincent’s hometown. 

NFT 是人们在当代参与梵高生活方式的一项创新。此次 NFT系列旨在让更多观众沉浸其中，让他们参与多方面的体验，欣赏梵高在家乡看到和感受到的关键记忆和地点。在谈到 NFT 时，大多数人的印象可能是静态的图像，然而，现在已经被证明NFT比想象的要复杂和创新得多。NFT 是使用多种媒介创建的，例如 3D 扫描和打印、3D 渲染、音乐制作、木艺、3D 打印、银模等，其中的灵感来自于梵高家乡的自然、古迹和环境。

In fact, NFTs are not the only things that come with this collection. For this first drop, each NFT in the collection is created from the leaf plucked from the tree on the site of 6 of the 39 monuments in Vincent’s hometown. It brings 6 distinct sets divided into 2 different tiers: the Millennium pack, a premium edition for issues 1/39 to 3/39, and the Century pack, a more affordable edition for issues 4/39 ~ 6/39. Each tier will include different contents based on different price points. Each leaf is scanned digitally and also recreated into a silver leaf which is housed in a triptych box made from the local Poplar tree that populates many of Van Gogh’s artworks. This creation process is not only significant for its connection to the themes and ideas of Van Gogh’s works but is also symbolic as a way of preserving the heritage of Vincent van Gogh in both digital and physical forms.

事实上，NFT 并不是这个系列附带的唯一东西。该系列中的每个 NFT 都在梵高的家乡采集了叶子。在梵高的家乡总共有39座纪念碑，作品中这些叶子来自于其中6座纪念碑附近的地点。这次的6件作品分为 2 个不同的等级，1/39-3/39是更为尊贵的千禧级，4/39-6/39是相对价格更为亲民的世纪级。每一个级别根据价格的差异将包含不同的内容。每片叶子都经过数字扫描，并重新制作成一片银叶，装在由当地白杨树制成的三联画盒中。这种树曾经出现在梵高的许多艺术作品中。这一创作过程不仅因其与梵高作品的主题和思想的联系而具有重要意义，同时作为一种以数字和物理形式保存文森特·梵高遗产的方式，也非常具有象征性。

“These NFTs shed light on the life of Van Gogh. By understanding the locales of his birthplace and childhood and the natural environment where he found much inspiration, peace, and solace, the public can fully appreciate the artist’s vision and work,”

“这些 NFT 揭示了梵高的生平。通过了解他的故乡和童年，以及他从中获得灵感、平静和慰藉的那些自然环境，公众可以充分欣赏艺术家的洞察和作品。”

– Frank van den Eijnden, Director of the Van Gogh Sites Foundation

– 弗兰克·范登·艾因登，梵高遗址基金会主任

Nurturing Art and Preserving Heritage

扶持艺术和保护遗产

The proceeds from the sale of the NFTs will partially go to the foundation to fund the preservation of the monuments and Van Gogh’s heritage. Furthermore, local artists and collaborators who are taking part in the creation of the project will also receive a part of the proceeds with each sale. Appreciator.io will also offer corporate clients who purchase three Millennium tier NFTs to be able to take part in the ESG initiative of planting trees in Van Gogh’s homeland in the future. These are all key values that the Appreciator.io founder & CEO, Emily Cheung, emphasizes. She believes that innovative technologies can also be used as a way to create meaningful collectibles and facilitate broader participation in real-life preservation projects. On this, Appreciator.io’s head curator, Adam G.Y. Chen, also added that NFTs can help them connect the art industry with young, more digitally savvy collectors and drive sustainability by existing where future generations interact.

出售 NFT 的部分收益将捐赠给基金会，以资助保护古迹和梵高遗产。此外，参与该项目创作的当地艺术家和合作者也将获得每次销售的部分收益。Appreciator.io 还将为购买了三个千年级 NFT 的企业客户提供未来能够参与在梵高故乡植树的 ESG 倡议。这些都是 Appreciator.io 创始人兼首席执行官 Emily Cheung 所强调的关键价值观。她认为，创新技术也可以用来创造有意义的收藏品，并促进更广泛地参与现实生活中的保护项目。对此，Appreciator.io 的首席策展人 Adam G.Y. Chen 还补充说，NFT 可以让艺术行业与年轻、更精通数字的收藏家联系起来，并通过后代的互动将其可持续发展下去。

“You must embrace technology if you want to interact with younger generations.”

“如果你想与年轻一代互动，你必须拥抱技术。”

– Adam Chen, Head Curator of Appreciator.io 首席策展人

Since its launch, Appreciator.io has been featured in over 100 media, press, and tv outlets locally and globally. This is a significant moment for a company based in Asia facing the art world. The collective team working on the Van Gogh NFTs will continue to release the remaining 33 monument-inspired NFTs over the year and is set to announce a further collaboration with different top-tier cultural institutions, brands, and artists to continue in the mission of preserving heritage using technology.

自推出以来，Appreciator.io 已在本地和全球 100 多家媒体、新闻和电视媒体上亮相。对于一家面向艺术界的亚洲公司来说，这是一个重要的时刻。致力于梵高 NFT 的团队将在一年内继续发布剩余33 个受纪念碑启发的 NFT，并将宣布与不同的顶级文化机构、品牌和艺术家进一步合作，以继续延续利用技术保护文化遗产的使命 .

The Vincent van Gogh 39 NFT collection is now available for sale with its first phase which ends in October. To find out more information about the project or the collection, please visit Appreciator.io.

文森特梵高 39 NFT 系列现已发售，第一阶段将于 10 月结束。要了解有关该项目或收藏的更多信息，请访问 Appreciator.io。

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About Appreciator.io

关于Appreciator.io

Appreciator.io is an experiential platform that collaborates with art institutions, IPs, artists, influencers, and brands for heritage preservation. Appreciator.io conceptualizes and creates NFTs, digital art, immersive experiences, and limited edition collectibles, which are then curated through the lens of the new wave of collectors in contemporary culture. It connects and inspires the new generation of collectors, especially those from China, to explore, learn, trade, and appreciate culture within its own web 3.0 eco-system.

Appreciator.io 是一个与艺术机构、IP、艺术家、意见领袖和品牌合作保护文化遗产的体验平台。Appreciator.io 构思并创造 NFT、数字艺术、沉浸式体验和限量版收藏品，从当代文化收藏家的眼光和角度来进行策划。它连接并激励新一代收藏家，尤其是来自中国的收藏家，在其自己的 web 3.0 生态系统中探索、学习、交易和欣赏文化。

About the Van Gogh Sites Foundation

关于梵高文化遗址基金会

The Van Gogh Heritage Foundation has set itself the aim of maintaining and developing Van Gogh’s heritage. The Foundation aims to increase the social and economic significance of the heritage through exhibitions and educational programs in and around the Van Gogh Monuments. In this way, the artist’s life story and its relevance for the present and future generations will remain a central theme.

梵高文化遗产基金会为自己设定了维护和发展梵高遗产的目标。该基金会旨在通过梵高纪念碑及其周围的展览和教育计划来增加遗产的社会和经济意义。通过这种方式，艺术家的生平故事及其与当代和后代的相关性是一个中心主题。

Translation 翻译 Rona Xia

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本篇文章来源于微信公众号: SHMADNESS

Ready Player One (VR). Artist艺术家: SUTU

With the advent of technology, art has transcended to new forms. Artists are now looking towards digital art, NFTs, VR/AR, and the metaverse, creating more immersive worlds to be experienced. But beyond hype and enthusiasm surrounding these new technologies, what is a metaverse and why should artists even care about it?

随着技术的出现，艺术已经发展出新的形式。艺术家们现在正在关注数字艺术、NFT、VR/AR 和虚拟世界，以创造更加身临其境的世界以供体验。但除了围绕这些新技术的炒作和热情之外，究竟什么是元宇宙，艺术家为什么如此关注它？

Put simply, the metaverse is a virtual space in which people can interact, trade, and create digital assets such as 3D designs, digital fashion, as well as NFTs. Unlike what many people assume, it is not created by Mark Zuckerberg’s company Meta. Instead, many companies have already existed in this space such as Decentraland, Cryptovoxels, The Sandbox, and more. Museums such as the San Francisco Museum of Modern Art and the Serpentine Galleries have already established their own virtual spaces when the pandemic drove them to go online. 

简而言之，元宇宙是一个虚拟空间，人们可以在其中进行交互、交易和创建数字资产，例如 3D 设计、数字时尚以及 NFT。与许多人认为的不同，它不是由马克扎克伯格的Meta公司创建的。相反的是，许多公司都已经存在于这个领域，例如 Decentraland、Cryptovoxels、The Sandbox 等等。当新冠疫情迫使很多业务转移到线上时，旧金山现代艺术博物馆和蛇形画廊（Serpentine Galleries）等博物馆已经建立了自己的虚拟空间。

Serpentine Galleries x KAWs x Fortnite

Through the metaverse, artists are able to create multi-sensory visceral artworks that blend visual, auditory, temporal, and spatial realms. Artworks not only move but exist in a dimension that lives on wherever or whenever the viewer may be. While this technology is in its early stages and the implications for using it are not entirely clear, many stakeholders of the art industry see the opportunity behind it. In fact, the Serpentine Galleries which have teamed up with KAWS and the massively popular battle-royale-styled online game, Fornite’s metaverse platform,  Fortnite Creative shows the growing interest of the art industry in the metaverse.

通过元宇宙，艺术家能够创作出融合视觉、听觉、时间和空间领域的多感官沉浸式艺术品。艺术品不仅可以移动，而且不局限于维度，时间，及地点。虽然这项技术还处于早期阶段，它的影响与运用尚未清楚，但艺术行业的许多利益相关者看到了它背后的机会。事实上，与KAWS合作的蛇形画廊（Serpentine Galleries），和Fornite的元宇宙平台—Fortnite Creative， Fornite（一款广受欢迎的大逃杀风格在线游戏）的元宇宙平台—Fortnite Creative都展示出艺术行业对元宇宙日益浓厚

“Even if 1 percent of Fortnite players over the course of that (Serpentine x KAWS) exhibition show up to the virtual gallery, it’ll probably be multiple of how many people could physically get into the Serpentine Galleries in London,”

“即使在（Serpentine x KAWS）展览期间有 1% 的 Fortnite 玩家出现在虚拟画廊中，也可能会是实际去参观伦敦蛇形画廊的人数的倍数。”

– Steven Brady, Barnes Foundation’s Chief Technology Officer, 

In an interview with Jing Cultural & Commerce

– 巴恩斯基金会首席技术官

史蒂文·布雷迪在接受Jing Cultural & Commerce的采访时说

Artists are creating their own metaverse platforms

艺术家们正在创建自己的虚拟世界平台

Still image from the video game Forgetter (2021). Artworks as viewed in the game by Zhang Huan. Courtesy Alan Kwan, Yang Jing, and DSLCOLLECTION.

来自视频游戏 Forgetter (2021) 的静止图像。Zhang Huan在游戏中看到的艺术品。由 Alan Kwan、Yang Jing 和 DSLCOLLECTION 提供。

With large tech companies taking the leap into the metaverse, the question of who controls the metaverse is an important discussion for artists in the long term. With this in mind, some artists have chosen to create their own pocket universe that is independent of the control of big tech. This includes implications of the carbon output they create as well as how payments and creative freedom are managed. 

随着大型科技公司跨界元宇宙，从长远来看，由谁来控制虚拟世界的问题对于艺术家来说是一个重要的讨论。考虑到这一点，一些艺术家选择创建自己的袖珍宇宙，独立于大科技的控制。这包括他们制造关于碳排放的影响力，以及如何管理支付和创作的自由。

From the Forgetter (2021)

来自于Forgetter (2021)

Interactive designer, augmented reality producer, and comic book artist, Sutu created his own metaverse, the Sutuverse to push the boundaries of the technology and take his art into the future. He began by creating the NEONz NFT collection which is a limited collection of 10,000 futuristic moving avatars with cyberpunk gear. The NEONz world is then brought into AR where collectors can display these interactive dynamic works in reality. It is the stepping stone to his expanded metaverse, which will further use VR and gaming to expand the rich narratives that the artist will create. In the Sutuverse, users will be able to become their avatars to explore and immerse themselves in an alternate dimension of interactive gaming art.

交互设计师、增强现实的制作人和漫画艺术家 Sutu 创建了自己的元宇宙 Sutuverse，以突破技术的界限将他的艺术带入未来。他首先创建了 NEONz NFT 系列，该系列包含 10,000 个带有赛博朋克装备的未来派移动化身。随后他将 NEONz 世界带入 AR 中，收藏家可以将这些交互式的动态作品展示到现实中。这是他扩展虚拟世界的奠基石，它将进一步使用虚拟现实和游戏来扩展艺术家创造的丰富叙事。在 Sutuverse 中，用户将能够成为他们的化身来探索和沉浸在交互式游戏艺术的另一个维度中。

Work by artist SUTU

艺术家SUTU的作品

Beyond these aspirations, the artist hopes to make these technologies more accessible to the public and support the new generation of artists facing web 3.0 to not only engage with this medium but also to do it with a conscious approach. 

除了这些愿景之外，这位艺术家还希望让公众更容易获得这些技术，并支持面向 web 3.0 的新一代艺术家不仅要参与这种媒体，而且要以有意识的方式去做。

“Even though they’re talking about this migration to more sustainable technology, they’ve been talking about it for years, and I don’t feel like we should wait,”

“尽管他们正在谈论向更可持续技术的方向迁移，但他们已经谈论了多年，我觉得我们不应该等待，”

– 艺术家 SUTU

For more information on the artist, please check out this article

请查看这篇文章了解有关艺术家的更多信息

Worldwide Web3 is another artist-created 2D-art game metaverse in which people can play games to earn NFTs to trade, create, fight, and take advantage of all the possibilities of this technology. Like Sutuverse, there are stories and functions that immerse the players as well as a link to NFTs as a way of creating new narratives. Created by the artist, Thomas Webb this metaverse is  “A free to play interoperable MMORPG metaverse on Ethereum”. 

Worldwide Web3 是由另一位艺术家创作的 2D-art 游戏元宇宙，人们可以在其中玩游戏来赚取 NFT 用来交易、创造、战斗，并利用这项技术所有的可能性。像 Sutuverse 一样，有让玩家沉浸其中的故事和功能，用与NFT作为连接，作为创造新叙事的一种方式。由艺术家 Thomas Webb 创建的这个元宇宙是 “在以太坊上免费玩，且可互动操作的 MMORPG 元宇宙”。

For many years, the internet has changed the way we perceive our own identities. Our digital persona sometimes masks our true persona. Understanding the state of how we evolve alongside the metaverse is one of the things contemporary artist, Thomas Webb, desires to explore through this project. With an emphasis on experiences that are free from restrictions, the artist hopes that people can see how they interact online while also highlighting the arising failures the metaverse has. Although the project focuses on a broad range of themes including socializing, the dependence on technology, hierarchy, addiction, and more, the artist describes the theme as such:

多年来，互联网改变了我们感知自己身份的方式。我们的数字角色有时会掩盖我们的真实角色。了解我们是如何与元宇宙一起进行进化的状态是当代艺术家托马斯韦伯希望通过这个项目探索的事情之一。艺术家强调不受限制的体验，希望人们可以看到他们如何在线互动，同时强调虚拟世界中也有正在出现的失败。尽管该项目侧重于广泛的主题，包括社交、对技术的依赖、等级制度、成瘾等等，但艺术家将主题描述为：

“The work is about systems. It’s really outrageous. Addressing themes about what is life like, how do we interact, introducing characters with complex backstories. What is happening in the moment for the generation that’s about to go into work as digital natives? How do their social dynamics work? As an artist, there’s an ability to shape the future.  I want to explore not how it’s going to look, cos it’s pixel art, but rather how it’s going to operate. The game shows how our social dynamics, the economy and other systems work. That’s not a traditional artistic approach, and I’m building systems and worlds as an artist/developer.”

“这项工作是关于系统的。非常肆无忌惮。提出关于“生活是什么样”的主题，我们是如何互动，介绍具有复杂背景故事的角色。对于即将成为数字原住民的那一代人来说，此刻正在发生什么？他们的社会动态如何运作？作为一名艺术家，可以承载塑造未来的能力。因为它是像素艺术，我想探索的不仅是它看上去是什么样的，而是它的运作方式。游戏展示了我们的社会动态、经济和其他系统是如何运作的。这不是传统的艺术方法，我作为艺术家/开发人员是在构建系统和世界。”

– Thomas Webb

In the meta of it all

在这一切的自我参考中

Cryptovoxels Metaverse 元宇宙

While some artists have jumped onto the possibilities of the metaverse, many remain skeptical or displaced from the technology. With deep concerns for the over-commercialization of the art market, lack of technical knowledge, security issues, negative associations of cryptocurrencies, and NFTs playing a big factor, so artists are wary of the possible risks. Furthermore, the application of art inside digital environments does not mimic the stimulatory senses of people as it does in the real world. Digital perception of smell if it exists, space, and environments are not the same.

虽然许多艺术家已经投入于元宇宙的可能性之中，但许多人仍然持怀疑态度或对这项技术置若罔闻。由于对艺术市场过度商业化有着深切担忧，技术知识的缺乏、安全问题，这些都是与加密货币和 NFT 出现负面关联的因素，让艺术家们对可能存在的风险保持警惕。此外，艺术在数字环境中的应用并不同于在现实世界中人们面对艺术品时感受到的那种冲击。对数字作品的感觉在存在性，空间，环境等诸多方面都与现实中的不一样。

Despite this, it is important to note the significance of the technology and to ensure it is developed in the right way through experimentation and participation. The wider reach that the internet brings to the art world as well as the new mediums that artists can work with has always been the pivotal moment for the future of art and the way we interact.  At the end of the day, it is not the technology that is the problem but rather best put unironically by the leader of a big tech company:

尽管如此，重要的是要注意该技术的意义，并确保通过实验和参与以正确的方式来开发它。互联网给艺术界带来了更广泛的影响，艺术家可以使用新的媒介，这是艺术的未来和我们互动方式发生改变的关键时刻。归根结底，问题不是技术，反之一家大型科技公司的领导者用了一个最好的反讽：虽然许多艺术家已经投入于元宇宙的可能性之中，但许多人仍然持怀疑态度或对这项技术置若罔闻。由于对艺术市场过度商业化有着深切担忧，技术知识的缺乏、安全问题，这些都是与加密货币和 NFT 出现负面关联的因素，让艺术家们对可能存在的风险保持警惕。此外，艺术在数字环境中的应用并不同于在现实世界中人们面对艺术品时感受到的那种冲击。对数字作品的感觉在存在性，空间，环境等诸多方面都与现实中的不一样。

“ It’s not a faith in technology. It’s faith in people.” 

“这不是对技术的信仰。这是对人的信任。”

– Steve Jobs, Co-founder of Apple

史蒂夫乔布斯，苹果公司联合创始人

*all images and artworks belong to the artist & his representing galleries respectively

*所有图像和艺术品分别属于艺术家及其他们代表的画廊

Translation 翻译 Rona Xia

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Nadia Squarci & Sergio Scalet (Hackatao)

Hackatao is an Italian art group founded in 2007. Before the group was formed, Sergio Scalet was a creative copywriter at an advertising agency, and Nadia Squarci was an art director. The two artists met in Milan, Italy, in 2006 and soon decided to form Hackatao.

Hackatao是一个来自意大利的艺术组合，成立于2007年。在组合成立之前，Sergio Scalet是一名广告公司的创意文案，Nadia Squarci是一位艺术总监。两位艺术家在2006年于意大利米兰相遇，志趣相投的两个人之后很快就决定成立Hackatao组合。

 

Heroines – Weight Of The World 女英雄-世界的重量

While Hackatao is not well known on social platforms, Hackatao has just 8,000 followers on Instagram, compared to Beeple’s 2.25 million followers (his work previously sold for nearly $70 million at the NFT Art Market). But that doesn’t stop Hackatao’s work from selling well on the NFT art market. They are one of the top three crypto artists.

虽然Hackatao在社交平台上并不算出名，相比于Beeple（之前他的作品在NFT艺术市场拍出了将近7000万美元的天价）在Instagram上拥有225万粉丝，Hackatao的粉丝量只有8000，但这并不影响Hackatao的作品在NFT艺术市场上的大卖。他们是加密艺术领域排名前三的艺术家之一。

 

The name represents the spirit of the artist, and the “Hackatao” comes from the superposition of two words. The word “Hack” represents the pleasure of digging deep into something and enjoying the process. “Tao” is derived from the core spirit of Taoism, China’s indigenous religion, symbolizing the harmony of Yin and Yang, and their works are constantly changing to a better state.

名字代表了艺术家的精神，Hackatao组合的名字来源于两个词的叠加。“Hack”这个词代表了一种乐趣，即深入挖掘事物，并享受这个挖掘的过程。而“Tao”则是源自中国本土宗教道教的核心精神，象征阴阳调和，他们的作品在不断变化之中达到更好的状态。

HACK of a BEAR – The Architect

熊的黑客-建筑师

Hackatao’s works focus on society, humanity, the environment, and the NFT art market in which they work on. Superficially, their work was heavily influenced by Andy Warhol’s pop art form, attempting to express themselves in surrealism and stream of consciousness. In terms of content, Hackatao combines many sources of thought, including religion, politics, nature, art history, contemporary art, psychology, alchemy, childhood memory, and other complex thinking systems

Hackatao的作品关注社会、人文、环境以及他们所身处的加密货币艺术市场。表面上看，他们的作品受安迪·沃霍尔的波普艺术形式影响很大，试图以超现实主义和意识流的形式来表达自己。而内容上，Hackatao则结合了众多的思想来源，包括宗教、政治、自然、艺术史和当代艺术、心理学、炼金术、童年记忆等复杂的思维体系。

 

Hackatao themselves admits that their work is in a “borderline state of order and chaos”. In Hackatao’s view, their art comes from their existence and it is a distillation of their individuality.

Hackatao他们自己也承认，他们的作品处于一种“秩序与混乱的临界状态”。在Hackatao看来，他们的艺术来自于他们的存在，是他们个性的升华。

 

QUEEN OF SILENCE

沉默女王

Hackatao’s entry into the NFT art market came from a very unexpected coincidence. In 2018, Sergio read an article about blockchain in Science magazine and immediately realized its value to the art market. Uniqueness is an important foundation of art, and blockchain technology can prove the uniqueness of digital works.

Hackatao之所以能进入NFT艺术市场，来自一个非常意外的巧合。2018年，Sergio在《科学》杂志上看到了一篇介绍区块链的文章，Sergio马上就意识到了这件事对于艺术市场的价值。独特性和唯一性是艺术的重要根基，而区块链技术恰好能做到对数字作品唯一性的证明。

“Although it did not talk about NFT and Art, we immediately thought that this technology was perfect for the certification and creation of something new for art. So, armed with all our curiosity, we set out to research, with the same approach with which we approach the creation of an artwork. We met Jason Bailey, curator, and popularizer, we believe the first one who has been able to define Crypto Art. He introduced us to the guys at SuperRare and so it all started with them and a few other artists.”

“虽然它没有谈论 NFT 和艺术，但我们立即认为这项技术非常适合艺术新事物的认证和创造。因此，带着我们所有的好奇心，我们开始研究，采用与创作艺术品相同的方法。我们遇到了策展人和普及者 Jason Bailey，我们相信第一个能够定义加密艺术的人。他向我们介绍了SuperRare 的人，所以这一切都是从他们和其他一些艺术家开始的。”

 

So in 2018, Hackatao entered SuperRare, a digital art marketplace based on Ethereum (a type of cryptocurrency), despite the fact that the NFT market was still heavily underrated by the traditional art market.

所以在2018年，尽管当时NFT市场仍然非常不被传统艺术市场看好，Hackatao还是进入了SuperRare平台，这是一个基于以太坊的数字艺术市场。

In the eyes of Hackatao, the biggest feature of NFT and Crypto Art is decentralization. Any artist can enter the international art market without being blocked by borders. This new paradigm provides unprecedented opportunities for many artists, especially those who are not yet famous.

在Hackatao的眼中，NFT 和加密艺术最大的特点是去中心化，任何艺术家都可以进入国际艺术市场而不受边境的阻拦，这种新的范式为众多艺术家尤其是尚未成名的艺术家提供了前所未有的机遇。

 

But at the same time, Hackatao also believes that the construction of NFT as an emerging market has just started, there is still a lot of work to be done, we need to build a new cultural model that is different from the traditional world.

但是同时，Hackatao也认为NFT这一新兴市场的建设才刚刚起步，还有许多工作需要完善，我们需要建设一个迥异于传统世界的新文化模式。

 

BIRD IN THE SHELL

壳中鸟

When asked about the future of blockchain technology, Hackatao responded this way: ” We don’t know if the world will be blockchain, but certainly, those who live and work in this new dimension have a hard time going back to the old logic. Once you understand the creative application power of blockchain and the founding values of cryptocurrencies, everything else seems complicated and obsolete. “

当被问到区块链技术的前景时，Hackatao这样回答：“我们不知道世界是否会是区块链，但可以肯定的是，在这个新维度中生活和工作的人很难回到旧逻辑。一旦您了解了区块链的创造性应用能力和加密货币的创始价值，其他一切似乎都变得复杂和过时。”

For more info on the artist, please click here

欲了解更多他们的作品，请点击这里

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EthGirl, 140 x 110 cm, oil on canvas

以太女孩，布面油画

The NFT has shaken up the art world in recent years, especially after Beeple’s “Everydays: The First 5000 Days” sold for $69 million at Christie’s. While most outsiders doubt whether NFT art is the new future of art history, or just a fad for hype, another NFT artist, Trevor Jones, has reached a bolder conclusion:

NFT在这几年着实撼动了艺术界，尤其是当Beeple的作品“每一天：前5000天”在佳士得拍出6900万美元之后。当大多数局外人还对NFT艺术究竟是艺术史崭新的未来，或者仅仅只是一股炒作风潮还心存怀疑的时候，另一位NFT艺术家特雷弗·琼斯已经有了更大胆的结论：

 

“This digital art market is only getting warmed up and it could quite easily take over the $67 billion (physical) art market in the not too distant future.” According to Trevor Jones, the traditional art market is likely to be dying, perhaps in the next 10 to 15 years.

“这个数字艺术市场只是在升温，在不久的将来，它很容易接管价值 670 亿美元的（实体）艺术市场。”在特雷弗·琼斯看来，传统艺术市场很有可能正在消亡，也许就是未来10到15年的事情。

 

Bitcoin Angel, 120 x 90 cm, oil on canvas

比特币天使，布面油画

Trevor Jones is also a successful NFT artist who has set many records in the NFT art market over the past two years. In February of this year, his Bitcoin Angel was sold for $3.2 million, the highest price ever recorded at the NFT open edition art auction.

特雷弗·琼斯同样是一位成功的NFT艺术家，过去的两年里他在NFT艺术市场中创造了许多记录。在今年的2月份，他的作品“比特币天使”得到了NFT开放版艺术品拍卖有记录以来的最高售价——320万美元。

 

But Trevor Jones was not so successful from the start. The young Trevor Jones suffered from depression, and it wasn’t until he was 31 that he decided to make some changes. As he had a foundation in painting since childhood, he was finally able to enter the Edinburgh College of Art to study Art after some setbacks.

但特雷弗·琼斯并非从一开始就这么成功。年轻时的特雷弗·琼斯患有抑郁症，直到他31岁的时候，他才决定做出一些改变。由于他从小就有绘画基础，在经历了一番挫折之后，他最终进入到了爱丁堡艺术学院学习艺术。

 

After graduation, Trevor Jones had a good job as the CEO of Art in Healthcare, a charity. Trevor Jones did this for seven years, during which time he did many things, including teaching art classes, meeting other artists, and working on solo art exhibitions.

毕业后的特雷弗·琼斯在一家名为“医疗与艺术”的慈善机构担任主管，这份工作很不错。特雷弗·琼斯做了7年的时间，在这段时间里他做了很多事情，包括教授艺术课程，接触其他艺术家，以及致力于实体的个人艺术展览。

 

Artist Trevor Jones

艺术家 特雷弗·琼斯

It was the experience of holding solo exhibitions that made him realize that the traditional art market, in which galleries represent artists and sell artworks on behalf of artists, could hardly support artists themselves. The gallery takes a commission of half the sale price, which, after deducting the overhead costs of space, materials, and storage, leaves him with a net income of just £9,000 a year. It’s too little to make a living on and Trevor Jones wanted to change things further.

也正是举办个展的经历，让他意识到传统艺术市场中由画廊代理画家代理售卖艺术家作品的方式很难养活艺术家本人。画廊会抽取售价一半的佣金，在减掉场地、材料、储存的间接费用之后，他一整年只从这一部分获得了9000英镑的纯收入。这太少了，特雷弗·琼斯难以以此为生，也希望进一步作出改变。

 

Although Trevor Jones has always worked in traditional oil painting, he has maintained an interest in technology for nearly a decade. It was a historic shift for Trevor Jones, who first got into blockchain technology around 2017 by investing in cryptocurrencies.

虽然一直以来特雷弗·琼斯从事的是传统油画绘画，但他近十年都一直保持着对于技术的兴趣。2017年前后，特雷弗·琼斯通过投资加密货币开始接触区块链技术，这对特雷弗·琼斯来说是一个历史性的转变。

Cubist Satoshi by Trevor Jones 

特雷弗·琼斯创作的 Cubist Satoshi

He was fascinated by the disruptive and future potential of blockchain. By early 2018, Trevor Jones was already thinking about new crypto-inspired exhibitions based on cryptocurrencies and augmented reality. It was a decision that sounded a bit like a gamble to him, but as the price of Bitcoin and Ether began to rise sharply around 2017, Trevor Jones prospered.

区块链的颠覆性和未来发展潜力深深吸引了他。到2018年初，特雷弗·琼斯已经开始构思基于加密货币和增强现实技术的新展览。这个决定在他自己看来有点像赌徒行为，但随着2017 年前后比特币 ( BTC ) 和以太 ( ETH ) 价格开始大幅上涨，特雷弗·琼斯也大获成功。

 

A still image of Picasso’s Bull by Trevor Jones. 

特雷弗·琼斯创作的毕加索公牛静止图像

Trevor Jones took the approach from physical painting to technical creation. Currently, Trevor Jones’s works already sell for between $40,000 and $180,000 each. In February of this year, he sold his works overnight for $3.2 million. Despite his modesty, the story of Trevor Jones’s rise from suffering depression to universal recognition in the art world is an inspiring story.

特雷弗·琼斯采用的是先进行物理绘画在进行技术创作的方式。目前，特雷弗·琼斯的作品每件售价已经高达几万到几十万美元。今年的2月份，他的作品一夜之间就卖出了320万美元。虽然特雷弗·琼斯本人非常谦虚，但是从抑郁症患者到在艺术界获得普遍认可，特雷弗·琼斯的故事可以说非常励志。

 

For Trevor Jones, the NFT market is only getting bigger and it has changed his life forever.

在特雷弗·琼斯看来，NFT市场只会越来越大，也彻底改变了他的人生。

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Beeple, whose real name is Mike Winkelmann, is 40 years old and is an American graphic designer, animator, and digital artist. His work has served super celebrities or companies like Justin Bieber, Katy Perry, SpaceX, Apple, and even appeared on the Super Bowl halftime show twice.

Beeple的真名是Mike Winkelmann，今年40岁，是一名美国的平面设计师、动画师和数字艺术家。他的作品曾经服务于贾斯汀比伯、Katy Perry、SpaceX、Apple等超级名人或公司，甚至两次在超级碗中场秀中出现。

 

But The real cause of his fame came in March when his digital painting work Everyday: The First 5000 Days was sold as NFT at Christie’s for a hefty $69.3 million. Christie’s claimed the sale placed Beeple “among the top three most valuable living artists”.

但令他名声大噪的真正原因发生在今年3月份，他的数字作品《每一天：前5000天》在佳士得以NFT的形式被售卖，价格高达6930万美元。佳士得声称此次拍卖使Beeple跻身“前三位最有价值的在世艺术家之列”。

 

Beeple is just one in the new wave of wealth-making in the art world that has emerged since the NFT digital art market. In simple terms, NFT stands for “non-fungible token,” which is essentially a digital signature powered by blockchain technology that proves ownership of something. Technically, it can contain any digital work, even a Twitter post. The digital art market has become very hot and even crazy recently, as the NFT has solved the problem of the lack of appreciation in the art market due to the easy reproducibility of digital works.

NFT市场自出现开始，就在艺术界掀起了新的一波造富运动，Beeple仅仅是其中一位。简单来说，NFT本质上是一种由区块链技术支持的数字签名，可证明某物的所有权。从技术上讲，它可以包含任何数字作品，甚至是一条推特。数字艺术作品曾经因为便捷的可复制性而缺少在艺术市场上的升值空间，而NFT的出现则解决了这一问题，这使得数字艺术市场最近变得异常火热甚至疯狂。

 

A collage of Beeple’s works. Part of Everydays: The First 5000 Days

Beeple 的作品拼贴。《每一天：前5000天》一部分

Of course, the reason why Beeple’s digital artwork Everydays: The First 5000 Days can fetch such a high price is not only because the NFT market exploded, but also because the work itself is good enough. As The title suggests, Beeple has been producing one digital creation a day for more than 5,000 days, starting on 1 May 2007. In 2011, he talked about why he started the project:

当然，Beeple的作品之所以能拍得上如此高价，除了有乘上了NFT市场爆发这艘快船的原因之外，其作品本身也足够优秀。《每一天：前5000天》作品正如其名，是Beeple每天完成一张数字作品并坚持五千多天的结果，这项工作始于2007年5月1日。在2011年，他曾经谈到为什么要开始这个项目：

 

“I saw another artist named Tom Judd who did this a few years back. I thought that was a really great idea and I figured it would be a great way to get better at drawing myself. Since then I’ve used this as a tool to learn about photography and 3D animation as well.”

“我看到另一位艺术家Tom Judd几年前做过这个。我认为这是一个非常棒的想法，这将是一个让自己不断画地更好的方法。从那时起，我就把它作为学习摄影和3D动画的方式。”

– Beeple

 

The themes of Everydays: The First 5000 Days are very diverse, including graphic commentary on American politics, technology worship, cosmic totem, environmental issues, social wealth distribution, etc., and the style is mostly abstract, fantasy, and absurd. But there is no doubt that these whimsical paintings satisfy certain imaginations that are not answered in traditional painting.

《每一天：前5000天》作品内容的主题十分多多元，包括以图像形式对美国政治的评论，技术崇拜，宇宙图腾，环境问题，社会财富分配等等，风格也以抽象、奇幻和荒诞居多。但毫无疑问，这些光怪陆离的画作满足了人们在传统绘画中无法得到回应的某些想象。

 

Thanks to his masterpieces, Beeple was already a social media sensation with millions of followers before Christie’s auctioned them off. It can be said that the hot NFT market and his own superflow, jointly contributed to this sky-high auction, and there will be more super-rich artists to be born in the NFT digital art market.

凭借这些优秀的画作，在佳士得拍卖之前，Beeple就已经在社交媒体上颇受追捧，吸引了超过数百万的粉丝。可以说NFT市场的火热和他自带的超级流量，共同促成了这场天价拍卖。可以预见，在NFT数字艺术品市场，将会有更多的超级富豪诞生。

 

Of course, controversies have been around NFT since the day it emerged, such as the speculative nature of NFT and its huge carbon consumption as a cryptocurrency. But Beeple donated 6 million of his NFT market revenue to the Open Earth Foundation (A nonprofit environmental organization) in 2019 and plans to buy carbon offsets for all NFT transactions. Beeple’s approach can be said to set an example for the art nouveau rich artists created by the NFT movement.

当然，争议从NFT出现的那一天起就伴随其左右，比如NFT的投机性和作为加密货币的巨量碳消耗。但是Beeple在2019年就将通过NFT市场收入的600万美元捐入开放地球基金（一个非盈利环保组织），并计划为所有的NFT交易购买碳抵消。可以说，Beeple的做法可以说为NFT造富运动产生的艺术新贵们树立了榜样。

For more information on the artist, please click here 

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Virtual art is a new art market with the growth of the Internet. In the past, it was hard for us to imagine that collectors would buy a work that did not exist in reality. All this, however, has changed with the rise of NFT.

虚拟艺术品是伴随互联网生长的新生艺术品市场，在以前，我们很难想象收藏家会去购买一件在现实中并不存在的作品。而这一切，都随着NFT的崛起而变得不同。

Krista Kim，Mars House，2020

 

NFT, which stands for Non-Fungible Token, is based on blockchain technology and can act as a digital certificate of ownership that enables digital artwork or designs to be bought, sold, and collected. With the rapid development of NFT, undervalued digital creators can make their works rarer. Artworks can be digitally encrypted and become Crypto Art. Buying Crypto Art through Art investment also becomes a more modern investment method.

NFT的全称是Non-Fungible Token，基于区块链技术，NFT可以充当数字所有权证书，使数字艺术品或设计能够被购买、出售和收集。随着 NFT的迅速发展，被低估的数位创作者们可以让自己作品变得更为稀有，艺术作品可以被数字加密而成为加密艺术品(Crypto Art)，通过艺术投资来购买Crypto Art 也变相成为一种更现代化的投资方法。

 

More importantly, it opens up new possibilities for artists working on social media. Not every artist’s work has the opportunity to be exhibited in galleries, and online creation has become almost a one-way favor for social media, but there is no financial reward for artists. However, the emergence of Crypto Art gives these artists the opportunity to form a sustainable closed-loop in terms of artistic creation and economic income.

更为关键的是，它为在社交媒体上进行创作的艺术家提供了新的可能。要知道，并不是每个艺术家的的作品都有机会在画廊中展出，线上创作几乎成为了一种为社交媒体免费赋能但没有经济回报的事情。然而，Crypto Art的出现可以让这些艺术家在艺术创作和经济收入上有机会形成可持续的闭环。

Krista Kim，Mars House，2020

 

Just recently, Krista Kim sold the world’s first NFT virtual room, Mars House (2020), for $512,000, which is a hefty price tag.

就在最近，克丽斯塔·金以51.2万美元的价格出售了世界上的第一座NFT虚拟房间Mars House (2020)，这是一个不菲的价格。

Krista Kim is a contemporary artist who has lived in Seoul, Tokyo, and Singapore. She earned her Masters of Arts Fine Arts from La Salle College of the Arts / Goldsmiths College UK in 2014. She completed her undergraduate studies in Political Science at the University of Toronto.

克丽斯塔·金是一位当代艺术家，曾在首尔、东京和新加坡生活过。她在多伦多大学完成了政治学的本科学习，并于2014年获得了英国拉萨尔艺术学院/金匠学院的艺术硕士学位。

Krista Kim wrote the “Techism manifesto“ in 2015, and she is best known for her use of manipulating digital images of LED lights to create abstract expressionist works that evoke the sublime.

在2015年，克丽斯塔撰写了《技术主义宣言》，她最著名的作品是利用LED灯的数字图像创作抽象表现主义作品，这些作品唤起观众内心的崇高感。

 

No. 671 v.3, 2016，Digital Pictographic on Pleximuseum，48 x 70 inches

No. 671, 2016，Digital Pictographic on Pleximuseum，48 x 70 inches

 

When asked what prompt Krista Kim established the Techism movement, she said: “Once everyone had a smartphone in their hand, the game changed. Everyone became addicted to their devices on a whole new level. I began to wonder who controls and collects all of this? It felt like a real opportunity for certain companies and power structures to easily prey on people like never before in human history.”

当克丽斯塔被问到为什么要推进这种技术主义运动的时候，她说：“一旦每个人都拥有了智能手机，这个世界的规则就变了，所有人都在更高的水平上沉迷于虚拟的网络世界。我开始好奇，是谁控制了这一切，又是谁在收集人们的信息。而这对于大公司和社会权力结构来说，将是一个新的机会去掠夺普通的人民。这在人类的历史上从来没有发生过。”

 

Based on these digital light and shadow art creations, Kim designed the house in 2020. Krista Kim worked with an architect to render the house using Unreal Engine, software that is commonly used to create video games. She describes the house, which overlooks a moody mountain range and features an open-plan design and floor-to-ceiling glass walls, as a “light sculpture”.

在这些数字光影艺术创作的基础上，克丽斯塔在2020年设计了这所房子。这是一个体现她冥想设计哲学的空间。她与一位建筑师合作，使用Unreal Engine（一种常用来制作视频游戏的软件）来渲染整座房子。这座房子俯瞰着一座光影波动的山脉并采用开放式设计，从地面到天花板都是玻璃墙，克丽斯塔把它描述为“光的雕塑”。

“Soon, we will all live in AR through our real environments using SuperWorld, a new app that has mapped the entire world for AR interface. Virtual real estate based on the real world can be purchased on SuperWorld, and in the very near future, this app will allow us to mint 3D NFTs and create a marketplace of digital AR assets,” 

“很快，我们所有人都将通过使用SuperWorld(一款为VR绘制整个世界地图的应用程序)的来体验真实的VR世界。基于真实世界的虚拟房地产可以在SuperWorld上购买，在不久的将来，这个应用程序将允许我们制造3D NFT作品和创建数字AR资产的市场.”

– Krista Kim 克丽斯塔·金

 

This would be revolutionary in many ways. The creation of digital homes and houses is in line with the growing trend of augmented reality. The buyer of Mars House will be sent a digital 3D file of it. The NFT exists as an authentication certificate that is stored on a blockchain, equivalent to a title deed for a real house, which verifies that the buyer owns it. Even in the near future, with the development of technology, the content of virtual space can actually be realized on the surface of Mars.

这在很多方面都会是革命性的。数字家庭与房屋的制作符合了增强现实VR正在流行的趋势。火星屋的买家将收到一份数字3D文件，NFT作为它基于区块链的认证证书，相当于一套真实的房子的地契。甚至在不久的将来，随着科技的发展，虚拟空间的内容真的可以在火星表面实现。

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