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Enter the Metaverse Living with a Masterpiece
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00:00Donc, nous allons passer de ce segment qui a fait beaucoup d'intéressant et diverses solutions
00:09à quelque chose de différent et nous allons entrer dans l'art world.
00:13Comment vous êtes ici ici d'art fans?
00:16Ok, bien, oui.
00:18Non beaucoup de vous, parce que nous allons vraiment vraiment parler de l'art maintenant.
00:22Et donc, ces gars sont en faisant ce qui en fait, en fait, c'était légal.
00:30Donc, l'idée est de reproduire, mais en utilisant 3D technologie,
00:34qui est tellement brillant que, en fait, c'est possible pour les gens
00:38avoir une exacte réplique de, par exemple, un 16th-century européen de l'entreprise
00:44en leur bedroom, en leur living room, pour un très apportable price.
00:52Ici, pour vous dire plus, c'est Lito.
00:56Lito, vous pouvez prendre le stage.
01:07Bonjour, tout le monde.
01:10Merci pour venir aujourd'hui.
01:12Je suis Veronica, je suis head of content and community management at Lito.
01:18Je suis ici aujourd'hui pour vous parler de Lito,
01:21qui nous sommes, ce que nous faisons,
01:23et pour découvrir les behind-the-scenes de ce que nous faisons.
01:26Je suis ici aujourd'hui avec Marc-Olivier de Blanc,
01:29head of legal at Lito.
01:31Il va vous expliquer tout ce qu'il fait,
01:33son travail, et plus sur le aspect legal des nos artes.
01:38Qu'est Lito?
01:39Well, first of all, Lito is a new way to create, collect, and experience art.
01:46We use our proprietary technology
01:48that allows us to 3D print, limited edition artworks,
01:53and 3D rendered master metaverse experiences
01:57in partnership with artists and museums.
02:00Marc-Olivier de Blanc, please explain to us what you do at Lito
02:04and a little bit about your background.
02:06Thank you, Veronica.
02:08So, I'm a lawyer specialised in art law and in IP rights.
02:14And I'm also the head of legal of Lito.
02:17And the idea is to deal with the museum,
02:23to deal with the artist and the estate,
02:26all the authorisation to reproduce the masterpieces and the works of art
02:33for that particular product that we're going to show you right now.
02:38And the idea is to build a contract, an agreement with living artists,
02:45but as well with museum, to have all the proper authorisation
02:52because it deals with author's rights.
02:55And I mean IP rights, author's rights,
02:58which means that include reproduction rights, mechanical rights, and moral rights.
03:04and as you probably know, there is two types of work of art.
03:10The first one, the works of art which belong to the public domain
03:13and you have no authorisation needed from the estate
03:18and you have on the other end, the works of art who have still rights on it.
03:24So, you need to deal before with the estate.
03:29So, Marc-Olivier, can you please tell us
03:31how you distinguish the details of an artwork?
03:37The idea, on an art visual point of view,
03:45the idea is to be sure to create,
03:49as you can see, the closest to the unique work of art.
03:54This is the original painting by Robert Delaunay.
03:58But the idea, on a legal point of view,
04:02is to provide a proper certificate
04:07with the reproduction that you will see afterwards
04:12regarding the real statute of what we sell.
04:17I mean, this is not a copy.
04:19This is not forgery.
04:22This is not forgery.
04:24This is a legal edition.
04:27It's called lithography.
04:30But the next generation of lithography
04:32with a certificate within the blockchain
04:36to secure the rights of the artist
04:39and to secure this reproduction, this edition,
04:44I mean within the art market.
04:48So, as you can probably imagine,
04:51printing of artworks have been around for a long time.
04:55Can you explain to us a little bit more
04:59about the printmaking
05:00and why LITO is doing what we are doing today?
05:07The issue of the reproduction of a work of art
05:12has been, in all the art history,
05:19we question the question of the reproduction of a work of art.
05:23But there is a difference between a copy
05:26and an illegal copy and a lithography
05:30and a limited edition, for example.
05:32You have, on one hand, legal edition
05:36agreed by the artist in the A-State
05:39or a museum, for example,
05:41and on the other side, forgeries.
05:44So, what we do is to provide the audience
05:49with a brand new thing
05:51which is an edition of masterpieces
05:55to reproduce the experience of having this feeling
05:59when you're face to face with a masterpiece
06:01by the quality, the highest quality you can imagine
06:05of a masterpiece.
06:08And the idea is to bring with you this masterpiece
06:12and to have the impression of having that masterpiece
06:17in your living room
06:18and share that feeling that you have
06:21for a few seconds in the museum.
06:25So, we haven't mentioned, but we're showcasing two videos
06:29in a row, actually three,
06:31where we show you the different process creation of a litho.
06:36So, we will get to that in a few seconds,
06:39but Marc-Olivier, can you please explain to us
06:42what actually a litho is?
06:45A litho is our brand name, but it's also what we call our artworks.
06:51Here we are, this is the original work so far.
06:56The idea is to recreate the masterpiece.
07:00So, we are the next generation of lithography
07:05with this particularly scanning process.
07:09There is a two-step, three-step process, sorry.
07:14The first is to reproduce the relief, to reproduce the texture
07:20and the brush strokes of the original painting.
07:23That's the first way we collect data regarding the texture,
07:29that particular aspect, what we call 3D printing.
07:34And then we have a second process of scanning for the colors
07:38and the shape and the dimension.
07:41Then we merge all the data and we reproduce it on that product.
07:49And then we obtain that amazing result,
07:53which is the closest you can imagine.
07:57And if you go to the stand just right there,
07:59you will see to the booth,
08:01you can not really make the difference between the original work of art
08:06and the reproduction.
08:07But at the same time, we have to take care of it.
08:11We do not want any confusions whatsoever
08:14about the legal nature of that work.
08:18So, you buy an edition, limited or unlimited,
08:23with a specific number or unnumbered
08:26and you know what you buy.
08:29There is no confusion regarding the legal aspect
08:32because we need the authorization of the estate
08:37and we also need the authorization of the museum.
08:42Yes, exactly.
08:43So, what Marc Olivier tried to explain to you
08:46is that it is not a forgery, it is not an illegal copy,
08:51it is an authenticated edition created by working hand-in-hand
08:55with the museum or the artist.
08:58So, it is the closest to the unique that you can get.
09:06Well, I think you all noticed that it's kind of a revolution.
09:10So, can you tell us just in few words
09:14that the revolution is not only in terms of tech,
09:17but it's also in terms of legal aspects.
09:19Yeah, Derenika, just something very important to understand
09:23that there is a kind of legal paradox
09:26because the museum and institution
09:29never owns the rights on the painting or sculptures.
09:36They only owns the physical, tangible object,
09:42I mean the work of art itself.
09:46So, when we negotiate with museums,
09:49we only negotiate the access to the object,
09:55I mean the access to the painting.
09:58And we will pay something to have this aspect.
10:02I mean our legal model is also a business model.
10:07We share the remuneration between the estate and the museum,
10:13let's say on a 50-50%.
10:16We have 20% of remuneration in our business model,
10:2010% for the estate or the living artist,
10:24and 10% for the museum.
10:26But we must be very careful because sometimes,
10:30for some reason, the museum tried to pretend their own rights,
10:35I mean also's rights or IP rights on the painting,
10:40but they don't.
10:42So, just to conclude in terms of the process,
10:45there is a three-step process that we mentioned,
10:47the scanning, the engineering, and the shipping.
10:51And the scanning is a dual process.
10:53As Marc-Olivia mentioned previously,
10:55it's the scanning of the artwork of the original art piece
10:58in partnership with the museum or the artist himself,
11:03but it's also correcting the perfect colour tint
11:07so we are as close as possible
11:10and to 99% accuracy to the original piece.
11:17Marc-Olivia, can you tell us more a little bit
11:20about authenticity aspect?
11:22Yeah, I think it's, Charles,
11:23maybe you can show the back of the painting.
11:28As you know, regarding the author's rights,
11:31we must be very focused on the credits and the mention.
11:36So, in the back of the painting,
11:38we have that mention saying that this is a limited edition.
11:43So, there is a very specific scope regarding,
11:48at the very beginning, our agreement with the artist or the estate
11:53and what we see here.
11:55And we also have the name of the museum
11:58and, of course, the credits.
12:00I mean, the title of the work of art, the year,
12:03and all that kind of thing you find in the museum in the cart,
12:08which means that you also have here a QR code.
12:12I must insist on the fact that we don't want any secondary market
12:19and we want to control the old process.
12:23I mean, there is no way there is any confusion in the market
12:27between this and that,
12:30which means that there is no confusion whatsoever
12:33because you have that given back with the proper credits and mention.
12:39So, it said what it is, and it is a limited edition
12:44that there will be no legal confusion
12:46regarding the legal statute of that lithography.
12:54Well, I think we covered pretty much the goal here
12:58is to make art available to all
13:01and that everyone can live with a masterpiece.
13:04Not only with the physical one, but also within the metaverse.
13:09You can discover our booth at J43.
13:13We have a game taking place now.
13:17I think some of you have probably seen it before,
13:19but it's a very fun game.
13:21We are exhibiting five artworks of Giovanni Bellini.
13:24It's a Renaissance painter.
13:26And only one of them is the original piece.
13:29So, go ahead, have a look, and try to find which one is the original one.
13:35You can have a chance of winning different prizes.
13:38We'll communicate the results within a week.
13:42One of the prizes is Elito.
13:44The second one is a trip to Austria.
13:46This is where our production site is based.
13:49And the last gift is a 50% voucher discount on our website to shop our artworks.
13:57Thank you so much for everyone.
13:59Thank you, Marc-Olivier, for taking the time to explain.
14:02And if you have any questions, don't hesitate.
14:05Thank you.
14:26Yeah, okay.
14:28So, basically, we have what we call a back catalog.
14:32I mean, which means that we already have authorization with artists and estates.
14:39So, if you go on our website, you can pick up a work of art and it's on demand.
14:47I mean, it's like between three and six weeks to have your own masterpiece at home.
14:55But you can also, in a way, commission and then ask, do you have the right for this artist, that
15:02artist, and we can do that for you.
15:05But if we already add all the proper volatilization from the museum and from the estate, it's between three and
15:12six weeks.
15:13It's a quite fast project and process because we have our own printer which are able to do that.
15:25All right.
15:26We have a question here.
15:27Sorry.
15:28Please.
15:30So, it's an amazing technology and you were saying that it was 99%.
15:40Exactly.
15:41Would you say that the last mile, the last 1% would be the smell that is associated with oil
15:49paintings, for example?
15:50Do you think it might be something that's actually doable?
15:56Yeah.
15:56That's very interesting because I think this very one person, you and I, we are not able to see it.
16:06Only an expert or sometimes a member of the estate knows by art the work of art.
16:13Because with our eyes, we cannot see any difference at all.
16:17The only difference you have is when you turn back the work of art and see this is an addition.
16:24This is psychologically a little bit confusing because you have the same motion with the original.
16:32But at the same time, you cannot see that slight difference which makes the big difference in a way in
16:39terms of price and in terms of market.
16:41Because the price is between 1,500 and something like 5,000.
16:49Thank you.
16:49You're welcome.
16:50Okay.
16:51Yes.
16:51Actually, that's the question I had about pricing.
16:53So, just a crude question.
16:55But this might, the original might auction for how much today?
16:59Any idea at all?
17:001.5 million.
17:021.5 million.
17:03And so, this Lito would be retailed at what? 1,500?
17:083,000?
17:091,500.
17:101,500.
17:111,500.
17:11Okay.
17:13Okay.
17:14So, for a real fan of that painting, this is actually something very attractive for them, right?
17:18Yeah.
17:19That's very interesting because there's something about the issue of the price of artwork.
17:26Yes.
17:27The difference is the end of the artist.
17:30It's something very, it's like religion, sacred, you know?
17:35You have that feeling that this is the actual artist.
17:40We did that.
17:41Yes.
17:41But the emotion is the same.
17:43The feeling is the same.
17:44I totally understand it.
17:46More or less.
17:46More or less.
17:46I totally understand that.
17:47Any questions from anyone?
17:48Yeah, you have a question?
17:49Please.
17:51Thank you for your interesting presentation.
17:55If I really understand your project is that we can have identical masterpiece.
18:02Exactly.
18:03But my question is, for example, what is today Lito's added value?
18:11What's your argument today?
18:13Why should I buy this masterpiece instead of the other one, the original one?
18:18Is the price the first argument?
18:21Because it's cheaper?
18:23No, no, no.
18:25It's not, of course, it's cheaper.
18:27But there is, you cannot have access.
18:32I mean, you have a physical person for your home.
18:38You cannot have access.
18:40If you are a huge collector, I mean, you can buy that kind of home.
18:44But you'll never have access to La Joconde, to Guernica, to that kind of thing.
18:49And maybe we get rid of adding postcards or cheap posters.
18:54So we're in between that very poor quality things we call derivative product.
19:02And we go to the process of high quality addition because we do think that we lose something with poster
19:12and with postcards.
19:14We have a small scale, a poor quality, and we gain that quality with that product.
19:22This is, it's not cheap because the price we talk about is not cheap.
19:26It's higher than the other derivative product.
19:30So it's basically the next generation of lithography.
19:35Actually, I would just follow up on that because I'll show a personal experience.
19:39So I sold a painting about eight years ago that I was very attached to for $30,000 at auction
19:44in London.
19:48And last year it was resold for $120,000.
19:51I cannot buy that painting back.
19:52It's not possible for me.
19:53And so this solution, I mean, this was a very dear painting.
19:57I really miss it, but I couldn't keep it for the insurance purposes.
20:01This, you can basically have an object which is virtually identical.
20:04You don't have to worry about insuring it.
20:06Exactly.
20:07And this is very important because in terms of target, you are the target.
20:13I don't know, but I can imagine that you are the target.
20:17You're not a huge collector, but you don't want poor quality things.
20:22You're attached to that kind of thing.
20:24Yeah, I'm trying to paint my own, actually.
20:26Yeah.
20:27You could do that, probably.
20:30Okay, we have any more questions?
20:32Oh, no, we're out of time.
20:32We're out of time.
20:33Okay, very, very quickly.
20:35Yeah, yeah.
20:37Hello.
20:37So when you say limited edition, how many pieces there will be in one edition?
20:43Basically, we negotiate with the estate when we're talking with the estate.
20:49and they choose whether they want limited or unlimited.
20:54And the price will go up and down depending on the numbers of displays.
21:01Regarding the works of art which belong to the public domain,
21:05we are absolutely free to do unlimited edition.
21:10Okay.
21:11Thank you.
21:13Okay.
21:14That's all the time we have, ladies and gentlemen.
21:17Lito.
21:17Thank you so much.
21:18Thank you.
21:19Thank you.
21:20Bye.
21:20Thank you.
21:21Thank you.
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