{"id":6986,"date":"2023-02-02T09:37:30","date_gmt":"2023-02-02T09:37:30","guid":{"rendered":"https:\/\/www.niio.com\/blog\/?p=6986"},"modified":"2023-02-02T09:41:40","modified_gmt":"2023-02-02T09:41:40","slug":"spogel-ghost-in-the-machine","status":"publish","type":"post","link":"https:\/\/www.niio.com\/blog\/spogel-ghost-in-the-machine\/","title":{"rendered":"Sp\u00f8gelsesmaskinen: invoking the ghost in the machine"},"content":{"rendered":"\n

Pau Waelder<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Rune Brink Hansen<\/strong><\/a> (Denmark, 1979) is a digital designer and artist who has developed a career in web design, 3D modeling and VJing since the early 2000s, creating stage design for operas, concerts, and festivals, as well as spatial design for museum exhibitions. Since 2010, he has created a wide range of immersive and interactive light installation pieces in Danish galleries and museums and has also worked as curator in several contemporary art projects. In May 2021, he created Sp\u00f8gelsesmaskinen<\/strong><\/a> (\u201cthe ghost machine,\u201d in Danish), an alter ego and a specific project for the NFT scene that focuses on creating short 3D animations in a distinctive pixelated style that depict surreal and eerie scenes involving computers and other machines. After successfully selling his NFTs on Tezos, Ethereum, and Solana, he is now preparing screen-based pieces to exhibit in art galleries.<\/p>\n<\/div>\n<\/div>\n\n\n\n

On the occasion of his solo artcast Abnor Mall<\/em><\/strong><\/a>, <\/em>we spoke about his career, his aesthetic and conceptual choices, and the influence that the NFT scene has had on this production and creative process.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\"\"
Rune Brink and Yoke Aps, KONSTRUKTUR. Interactive installation at Nikolaj Kunsthal, 2018<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

You are known for your interactive and kinetic light installations, which often create a novel experience of the surrounding space. What interests you about working with light and the architectural space?<\/strong><\/p>\n\n\n\n

I have always been interested in telling a story in a different way than you would normally find in a movie or a book, a way in which you can become the main protagonist of an experience that the story creates. I have done a lot of installations for cultural heritage museums, and in them I\u2019ve tried to develop a visual language that would keep a certain level of abstraction, in a way to focus on telling the story. And then by doing spatial projections, or light installations, I have created a landscape around the visitors that would trigger their imagination to feel that they are the main character of the story, instead of watching something at a distance. For instance, if I had to depict a war zone, I\u2019d rather create an atmosphere of anxiety and work with the feelings it generates rather than show images. <\/p>\n\n\n\n

So I would say that this is the reason why, when I started to work in art installations, coming from a design background and then doing visuals for music, I decided to create these spaces for the audiences where they really feel immersed and not just watching someone else. I have always been hesitant to create a narrative that is too defined and detached from the viewer, even when I did live visuals for music. I didn\u2019t want to create a perception of the music that was too concrete, too pre-defined.<\/p>\n\n\n\n

<\/div>\n\n\n\n