Entering the Metaverse: Where should we draw the line for NFTs?

By Kei Yong

Born during the pandemic years, NFTs (non-fungible tokens) were one of many solutions to support the economy during a period of physical restriction. Digital artists made up a large portion of the pioneers supporting this market as it finally provided a solution for valuing and placing ownership over their works that were previously free to roam in the unrestricted world of the internet. With monetary value added, which consequentially adds the esteem of scarcity to their artwork, NFTs were able to elevate modern-day digital artists whose mediums were never taken seriously as true art forms against traditional practices. Nevertheless, whilst traditional artists may be resentful towards the increasing digitization of the art world, art collectors and auction houses must learn to compete against the growing preference towards online accessibility. This poses a dilemma less so for modern artists who are able to decide on the commercializing of their art themselves, but for artists who have preceded this monumental period and have no control over the legacies of their works.

The recent news coverage over Martin Mobarak and his setting fire of Frida Kahlo’s Fantasmones Siniesteros (1944) on the 30th of July is an extreme exemplification of how society is dealing with the digital art market and its handling of prestigious pieces by history’s greatest artists.

A screenshot taken from the online video showing Martin Mobarak burning Frida Kahlo’s Fantasmones Siniestros (1944). Courtesy of FRIDA.NFT.

The contentious ceremony that could be called a piece of performance art in itself was held at his Miami mansion attended by 200 specially invited guests consisting of art collectors, digital artists, designers, and representative charities. On the website, Frida.NFT, the public can watch the event unravel in their promotion video. The viewers can see Mobarak provokingly unveiling the art from its protective case, unscrewing it from its frame, and placing it in a martini glass of dry ice and fuel with a mariachi band playing as it is enraptured in flames.

Fantasmones Siniesteros, or Sinister Ghosts, is an experimental watercolour and ink piece made by Kahlo in her diary. The 9-inch by 6-inch drawing depicts a ghostly skull with enlarged eyes intertwined with an assortment of paraphernalia and natural imagery like a broom, birds and ducks, alongside various mark makings and a greenwash as its background. On the top it writes ‘Here are the sinister ghosts’.

Frida Kahlo, Fantasmones Siniestros, 1944, ink and watercolour on paper.

Mobarak's publicity team claims that ‘history was made’ during this act of martyrdom for the cause of ‘unfortunate children, battered women and other less fortunate around the world to receive hope’, implying that a portion of the proceeds will be donated to suitable charities. However, after gaining the attention of the Mexican National Institution of Fine Arts for the ‘deliberate destruction of an artistic movement’. In defence, Mobarak argues that the proceeds from the 10,000 NFTS being sold at 3 ETH each, which is equivalent to just over $4,000, will boost Mexico's national heritage and will profit more than its original selling mark with the hopes of totalling to $40 million. In an interview with VICE, Mobarak makes the statement ‘People may see it as I destroyed it. But I didn’t…This way I am bringing it to the world. I am letting everybody see it. I think it does more good for the world and makes a statement rather than just sitting in someone’s private collection.’

Indeed, Mobarak’s multiplying of the piece does reflect the current discourse on the privatization and gatekeeping of information, and media that should technically be equally accessible to everyone. In an article by STEP about art and the equitability of the art world, they even refer to NFTs as the ‘democratisation of art’ due to the utilitarian nature of the exchange. However, given that The Institution of Fine Arts has ruled it unlikely that the businessman will follow through with his promises to both the charities and art institutions he allegedly aims to support, Mobarak has evidently resumed the same elitist greed that he claims to abolish.

Overall, it is undisputed that the future of art collecting is becoming increasingly digitised and the use of NFTs can aid to protect art investments as well as sustaining a future for collectables. However, just because an artwork has been uploaded and released to the digital world, it does not mean that the physical form can thus be eradicated. Especially given that Kahlo’s work is under the protection of the Mexican Institution of Arts, Mobarak’s actions can simply be put as an assertion of male elitist authority fabricating philanthropy. Sotheby’s is amongst one of many auction houses that has created a platform, Sotheby’s Metaverse and Natively Digital, specifically for their NFTs and digital art. Selling predominantly abstract contemporary works, the auction house separates modern and traditional marketplaces which is perhaps the most suitable option to maintain respect for artists that never consented for their artworks to be marketed in digital form.

Notes:

Chow, Andrew R. ‘What Are NFTs and Why They Are Shaking up the Art World?’ Time. Time, March 22, 2021 [Accessed October 8, 2022] https://time.com/5947720/nft-art/

Green, Emily. ‘A Frida Kahlo Drawing Was Destroyed to Make NFTs.’ VICE, September 28, 2022 [Accessed October 8, 2022] https://www.vice.com/en/article/aken7k/rida-kahlo-nft-mexico

Left, Alice. ‘NFTs and the Art World.’ Affordable Art Fair, July 7, 2022 [Accessed October 8, 2022] https://affordableartfair.com/inspiration/nfts-and-the-art-world/

MDP Newsroom. ‘Outrage in Mexico: Miami Businessman Burns Frida Kahlo's Artwork with a Ceremony Complete with Mariachis -.’ Mexico Daily Post, September 27, 2022 [Accessed October 8, 2022] https://mexicodailypost.com/2022/09/27/outrage-in-mexico-miami-businessman-burns-frida-kahlos-artwork-with-a-ceremony-complete-with-mariachis/

NFT, Frida Kahlo. ‘Frida's Fantasmones NFT.’ Frida's Fantasmones NFT [Accessed October 8, 2022] https://fridanft.org/

Richardson, Kamala. ‘NFTS: Authenticity, Accessibility and Equitability in the Art World.’ STEP. [Accessed October 8, 2022] https://www.step.org/sponsored-content/nfts-authenticity-accessibility-and-equitability-art-world.