Kristoffer Ørum
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Research. Somebody is going to have to examine it.
A teacher who keeps a studio in order to have something to teach from.
Digital art.
Collaborative. Most of it was made with other people.
Not research. The works were made first and explained afterwards.
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
One night I dreamt that the cancer might turn the Russian president into a crab, or perhaps a crayfish, and woke to a report that he was dying of cancer. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The installation operated both as physical presence at ARoS Public and as part of the parallel online exhibition, extending the work virtually with supplementary material. Signal_Crayfish, 2021
We are used to our own sight, shaped by memory and emotion, and to the camera's lens, with its illusion of objectivity. Speaker 1, 2026
This invisibility operates on several levels. Watershed, 2025
The exhibition consisted of a series of household objects and sculptural forms recreated in unusual materials and fitted with custom electronics. Invisible Objects, 2016
Together, the elements formed a series of overlapping linguistic and visual displacements. Putin's Nose, 2019
For the exhibition opening, Vitar Horsens Rollespilslaug performed an InCrowd game at the art museum, bringing their practice directly into the gallery space. Everyday Heroes, 2019
Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012
The exhibition blurs the line between documentary and fiction, making room for the unrealised potential of the past to resurface not as nostalgia, but as unfinished possibility. Aarhus'er #1, 2025
The cardboard boxes were imprinted with logos of Tessellax, a fictitious medical company claiming to cure Involuntary Tessellation, a condition causing uncontrolled growth of square body parts. The Ballehage Woman, 2009
By reinserting them into the same online environments where facial recognition is used for surveillance, marketing and classification, the project subtly disrupted how automated systems construct a digital identity. Recognised Faces, 2014
Each day, Watershed collects images from international news websites and subjects them to a watershed segmentation algorithm. Watershed, 2025
The work opens itself to failure, loss of control and improvisation, embodying these conditions rather than merely describing them. It Sings for Us of What We Might Become, 2019
Diffused States picks up this lost thread and reroutes it through urban counterculture, where spray-painted circuits become speculative carriers of three-state logic. Diffused States (Boston), 2025
All images were generated using Flux.1 diffusion models from Black Forest, on a used computer powered by green-certified Nordic solar, wind, and hydro energy. Hvidovre Makes Good Times Better, 2025
The project's visual materials referenced aesthetics from Djurs Sommerland and airplane safety folders. Djurs Øhav, 2020
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
Previous iterations of Freedom, Equality and Hip-hop have appeared at Kongegaarden (Korsør), Sydhavn Station (Copenhagen), Friisland (Copenhagen Nordhavn), Survival Kit Biennial (Riga, Latvia), and F.eks. (Aalborg). Hvidovre Makes Good Times Better, 2025
Ander Bojen & Kristoffer Ørum’s contribution combined personal narrative, historical research, and speculative urban theory to question how collective experience and perception shape the city. A Subjective History of Gdańsk, 2011
It presents language as both infrastructure and interference, existing in plain sight yet obscured within the everyday signals that surround us. Wireless Walnut, 2018
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
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
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
Philosopher Donna Haraway has called this illusion a “god trick”: a view from nowhere that claims to see everything. None of These Images Are of Me, 2025
Diffused States was part of the Data Fluencies exhibition curated by Roopa, on the diverse ways artists engage with, resist, or reimagine data. Diffused States (Boston), 2025
Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016
From advertising screens on buses to personal mobile phones, we are daily surrounded by lifelike computer-generated representations of physical phenomena. 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
Rather than proposing a return to older models, Watershed treats this uncertainty as an opportunity: a chance to experiment with new arrangements of familiar material, to test how different structures shape perception. Watershed, 2025
The installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021
In the work, a series of news broadcasts are presented by a talking carrot. Search for Carrot ExtraTerrestrial Intelligence, 2006
The transcription was done by Google's speech recognition, which is better at place names and brand names than at anything I was trying to say. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
Within the installation, a microclimate experiment is contained in a coffeemaker, adding subtle atmospheric variation to the space. In a Dark Room/a Storm in a Coffee Cup, 2004
Mundane Monsters was presented as part of Epsilon Spires' 2022 programming, which included 68 events focused on bringing cutting-edge creative work from around the world to southern Vermont. Mundane Monsters, 2022
A computer transcribes the audio files it has captured and translates them into Danish, before uploading the text to Meter’s homepage. Blind Listening, 2017
The pieces incorporated Wi-Fi network names printed on crayfish bodies, casting the invasive species as a digital hybrid creature living within communication networks. Signal_Crayfish, 2020
Artists were invited through an open call to create works in dialogue with the water-damaged photographs. Depth Estimation, 2019
Additional elements included a video installation where visitors had Putin's face projected over them, making them momentarily become Putin speaking about Russian male superiority and Western decadence. Putin's Nose, 2019
By naming the work after the processor used to create it, Ørum draws attention to the material infrastructure of digital media while simultaneously questioning the boundaries between virtual and physical experience. Coffee Lake, 2019