Kristoffer Ørum
Collaborative. Most of it was made with other people.
Twenty years out of art school, and back in it.
Mostly it is admin.
Solitary. One person decides what is documented and what is forgotten.
An archive with gaps in it, kept by the person who made the gaps.
The machines are collaborators and cannot be credited.
The work mixed factual information about signal crayfish with invented characteristics, including claims that the species can grow to 1.8 metres and possess wireless communication abilities. Signal_Crayfish, 2020
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
The festival invited artists to work across the boundaries between history, urban space, and perception, creating site-specific works and lectures that engaged with the city’s social and architectural context. A Subjective History of Gdańsk, 2011
Combining elements from the early labor movement with the local hip-hop culture of the 1990s, the project looks for untapped potential where creativity, community, and enjoyment take center stage. Aalborg Is The Future, 2024
I participate in the system myself because it can grant me access to freedom and resources. None of These Images Are of Me, 2025
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
The familiar backdrop of urban life became part of the work, framing the reimagined objects and frozen scenes within the flow of daily routines. Mundane Heroics, 2019
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
It ran across two buildings in Ringsted: the artist-run Ringsted Galleriet on Bøllingsvej 15, and the blood-sampling department of Midt- og Vestsjællands Hospital on Bøllingsvej 30. Leddyrsomsorg / Arthropod Care, 2026
Across media, the fictional creatures were presented with a mixture of pop cultural humour and the kind of scientific authority familiar from public information campaigns. Mundane Monsters, 2023
Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024
An actor dressed as The Ballehage Woman roamed the underbush of Marselisborg Forest near the Ballehage neighbourhood every night at dusk for a month. The Ballehage Woman, 2009
The opening performance on 30 May 2024 was paired with Linnea Langfjord's work on alternative presents focused on care and slowness in the art world. Mr. Spray, 2024
The project was presented as part of the Alternativa 2011–2012 festival, a contemporary art festival in Gdańsk that focused on experimental and interdisciplinary approaches to art and culture. A Subjective History of Gdańsk, 2011
Artists were invited through an open call to create works in dialogue with the water-damaged photographs. Depth Estimation, 2019
The project questions the assumption that it is "easier to imagine the end of the world than the end of the welfare state" (paraphrasing Slavoj Žižek). Melting State, 2020
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009
It aligns with the idea that technology, even when shaped by exclusionary structures, can be repurposed towards shared imagination, local autonomy, and slower forms of innovation. Diffused States (Vancouver), 2025
These precedents inform an imagined shift towards AI systems that are modest in scope, but deeply embedded in the cultures that maintain them. Diffused States (Vancouver), 2025
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
These images, generated through AI, deliberately embrace glitches and impossibilities to question how historical narratives are constructed and repeated. Aarhus'er #1, 2025
The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
The artists sent unsolicited emails to residents of the Ballehage area warning of an epidemic of Involuntary Tessellation and offering cures with a link to tessellax.com, a fake medical website based on an altered AIDS treatment site. The Ballehage Woman, 2009
During the exhibition, the carefully worded original English text on the exhibition space’s website was gradually replaced by an unstable bilingual text, one sentence at a time. Blind Listening, 2017
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
Yet it is also a paradox: even though AI produces many versions of me, they all point back to a recognisable “I.” This double movement—dissolution and reinforcement—is part of what interests me. None of These Images Are of Me, 2025
The project began with an unusual anecdote: "I look down into the shopping bag at some beetroots. Putins Nose, 2018
In the machine's failure to see me correctly, and in the unexpected beauty of its attempt, I was given a chance to see myself in new ways. Speaker 1, 2026
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016
At Drottninggatan 6, the building itself becomes a collaborative canvas, shaped by decades of creative reuse. Even the City Dreams of Being Another, 2025
The work was part of a series of four exhibitions at NLHspace from September to December 2009. Et Andet Rum 2, 2009
I also do it because I, as a white, established, middle-aged male artist, embody many of the privileges and blind spots that shape both the world and the art world. None of These Images Are of Me, 2025
A sink was reconstructed containing pasta, while spaghetti was modelled from FIMO clay. Invisible Objects, 2016
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
The work used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024