Customers: State Hermitage Museum St. Petersburg; Entertainment, leisure, sports Product: Atomyze: Industrial Asset Tokenization PlatformProject date: 2023/09
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Interros and the Hermitage launched a project to release NFT for art objects. It is called "Digital Art" and involves the creation and release of digital financial assets in the format of non-refundable tokens, which will reflect the process of restoration of works of art. The funds raised are planned to be spent on the restoration of new works from the Hermitage collection, Interros reported on September 11, 2023.
Token purchasers will have the opportunity not only to donate their funds to preserve the Russian and world cultural heritage, but also to become owners of digitized rights to a product created during the restoration process. In addition, all buyers of tokens will receive membership in the "Club of Digital Patrons" created at the State Hermitage.
The first works of art on the basis of which the CFA was released as part of the pilot project were three world-famous frescoes of Raphael's workshop and school from the collection of the State Hermitage: Venus and Cupid on Dolphins, Venus and Adonis and Venus Taking a Thorn.
Digital Art was the first NFT project in Russia, carried out in full accordance with Russian law, without the participation of foreign blockchain platforms and crypto exchanges. The partners of the project are the first Russian tokenization platform Atomais, which will take over the placement and turnover of digital financial assets created within the framework of the project, as well as Rosbank, on the resources of which user identification will be carried out. This guarantees the protection of the legal rights of both project participants and future token purchasers.
Director of the State Hermitage Mikhail Piotrovsky said that the NFT will allow fixing the intermediate states of frescoes that appear only at the stages of restoration and then disappear. During the restoration, it turned out that the paintings were remade to the tastes of subsequent eras, that is, later records hid the frescoes of Raphael's students, he explained.[1]