Kristoffer Ørum
Not a joke.
Science fiction, set last week.
Mostly it is admin.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Local. Copenhagen and Aarhus, mostly.
Twenty years out of art school, and back in it.
The "Partners" exhibition investigated what happens when artists and associations work together within the context of an art museum. Everyday Heroes, 2019
The symposium featured artists and scholars examining contemporary forms of image making and computational apparatus, investigating relations between desire and automation, uncertainty and labour, self and other. It Sings for Us of What We Might Become, 2019
Simultaneously with the physical performances, stories of The Ballehage Woman were disseminated across media including a website, YouTube video, Google ads, newspaper articles, and emails. The Ballehage Woman, 2009
The system operated continuously throughout the exhibition, looping through the history without direct interaction. Auto Navigate My History, 2014
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
During the exhibition a collaboration with Anders Bojen, a printer continuously produced emails describing fictional events taking place on Amager. City Planning, 2010
On the contrary, humour often arises in breaks with the expected, in encounters with the unknown, bringing fear and laughter close together. None of These Images Are of Me, 2025
The game turns on how the concept of gravity is embedded in language, metaphors, and everyday actions. Disbelieving Gravity, 2013
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
As Judith Butler has pointed out, an acknowledgement of our interdependence can be a basis for political communities, while Sara Ahmed highlights the possibility of an “affective solidarity” built on honesty rather than claims of innocence. None of These Images Are of Me, 2025
It is not pure resistance, but rather an example of how critique and complicity inevitably coincide. None of These Images Are of Me, 2025
The work took the form of an artist's book featuring a 3D-printed signal crayfish sculpture on the cover. Signal_Crayfish, 2021
The collaboration involved fieldwork where Ørum spent time with the role-playing association in their regular activities, including battles in Hansted Forest and gaming sessions. Everyday Heroes, 2019
By establishing rules and constraints—writing without interruption, juxtaposing unrelated images—the Surrealists sought to bypass rational control and provoke unexpected associations. Watershed, 2025
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 2021
Auto Navigate My History is a software-based installation that replays the artist’s own browser history from the past year. Auto Navigate My History, 2014
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
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023
The work involved 3D-printing signal crayfish models equipped with electromagnetic sensing components. Signal_Crayfish, 2021
Rooted in histories of low-resource computing and community-run networks, the project repositions AI as a tool for collective experimentation and situated knowledge-making. Diffused States (Lexington), 2025
The work featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
The publication set out the species' survival capabilities and cross-distance chemical communication systems, positioning the crayfish as superior to human technological networks in this comparison. Signal_Crayfish, 2021
There is a creative pleasure in this surrender of control: in letting a system run and being surprised by the strange, poetic, or nonsensical landscapes that result. Watershed, 2025
Yet, as critics such as Allan Sekula have argued, photography has never been a transparent medium; it has always been a construction. Watershed, 2025
Over the past year, I have created a series of self-portraits using locally run AI. None of These Images Are of Me, 2025
The 3D printed objects served as camouflaged recording devices, appearing as innocuous everyday items while performing the technical operation of speech-to-text conversion. Listening Without Ears, 2019
A book, "Kolindsund fremtidsturistguide," was published by forlaget majlund in 2022 (ISBN 9788793882096) in connection with the work. Djurs Øhav, 2020
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
"Monuments of a Fictional Past" is a project that imagines a past where Soviet edifices dotting the Latvian landscape have been replaced with AI-generated counterparts. Monuments of A Fictitious Past, 2024
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
The fact that they are made with local AI is important, because it provides a certain independence from the major platforms and makes it possible to work with the technology on my own terms. None of These Images Are of Me, 2025
A local newspaper printed an account of a witness encounter with The Ballehage Woman, sponsored by tessellax.com as advertising disguised as news. The Ballehage Woman, 2009
Pages were loaded sequentially or at random, with intervals that gave visitors time to recognise and reflect on the material. Auto Navigate My History, 2014
This does not mean that vulnerability is shared equally—some bodies are more exposed than others—but that we might begin in a recognised mess rather than in ideals of purity. None of These Images Are of Me, 2025
The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025