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Interview with Eleonora Brizi

Who is Eleonora Brizi

Eleonora Brizi is a digital and crypto art curator previously based in New York, Rome and Beijing, now indefinitely living in the Metaverse.

She graduated and specialized in contemporary Chinese art and later started her new path dedicated to art and technology in New York, combining her knowledge of the art world with the need – of the art itself – to speak the language of the time, where the current dialogue is digital and technical.

Before landing in the world of art and tech, Eleonora spent six years in Beijing, China, where she worked for four years as an assistant to artist Ai Weiwei and two years as a representative in China under the curator Jerome Sans. In 2018, she studied blockchain technology and its application to art in New York. Here, following her art curator career in China, she became very active in the flourishing crypto-creative community, curating, promoting, and participating in many Crypto Art pioneer projects.

Also in 2018, she founded Breezy Art, a web3 art curation brand and habitat for digital and NFT art. Breezy Art exists at the crossroads of Art and Technology, investigating the spirit of our time. It promotes digital art and crypto art (NFTs) through curation and creation of content.

Curation is the process by which art finds its voice and value. Breezy ensures that each project has its own unique curation, every artist has their story told, and every artwork finds its chapter in our narrative universe.

When has your journey into the world of Crypto Art started?

It was 2018 and I was in New York, when I first ran into Crypto Art. After spending six years in China, where I was given the amazing opportunity to work in the studio of a great artist like Ai Weiwei and alongside a curator like Jérôme Sans, I felt the need to deal with new challenges in the art world, but with no intention of beginning to work for a museum or gallery.

Once I arrived in New York, after just two weeks and thanks to my roommate, I attended a conference called “Art and Blockchain” at The National Arts Club; it was September 14, 2018: I had a new world open up that day.

On stage there were Rare Pepe, Jessica Angel, DADA.Art, John Crain of SuperRare and others who were beginning to talk about Crypto Art and NFTs, about the application of Blockchain to the art world and about a world without intermediaries, but peer to peer. As a corollary to the conference was one of the first all-digital art exhibits on Blockchain.

What was the first impact with this new art?

It was a very different aesthetic from the one I was used to, and I still didn’t understand it. I did not enjoy it at first sight, but I can say that I certainly had an intuition: I never thought I wouldn’t like it, but I really needed time to digest it. What I heard at the conference was too interesting not to take it any further: the time I gave myself to “digest” this new art was actually very short.

After that conference, during a very intimate dinner, I started to face all those who had spoken and participated, asking them to tell me more about ideas, projects, and visions. I finally started to wonder where I had been until that moment.

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