Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
This text is generated. He decided what it generates from.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Works with animals that have not agreed to it.
Not a joke.
Comedy.
It considers what AI might look like if it evolved through neighbourhood initiatives, recycled consumer hardware, and community-specific datasets, moving at the pace of shared maintenance rather than commercial urgency. Diffused States (Lexington), 2025
The exhibition was curated by museum inspector Pernille Rom Bruun and featured partnerships between artists and associations including nature conservation, bird watching, boxing, gliding, gymnastics, and rabbit breeding groups. Everyday Heroes, 2019
The exhibition opened on 8 October 2009 and remained on view until 30 October 2009. Et Andet Rum 2, 2009
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
The exhibition was part of a series of events organised by Kunsthal for Maritim Æstetik, which also included publications, debates, food events, and bus tours. Djurs Øhav, 2020
The sculptures Sovende bænkebider (Sleeping Woodlouse) in three sizes, the middle one in a wheelchair. Leddyrsomsorg / Arthropod Care, 2026
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
The installation was designed as an interactive multimedia experience that required visitors to engage with cutting-edge technology within a gallery setting. Mundane Monsters, 2022
The visuals evoke a digital anatomy—an intersection of physical presence and quantifiable information, and of a body sensed, represented and transformed in media systems. Data Kroppe, 2017
Amorphous forms in PU foam were combined with media players hidden inside. Invisible Objects, 2016
I do it because I see a critique of the world that too often points outward, as if one could speak from a neutral and elevated place. None of These Images Are of Me, 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
The headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
An oversized plastic walnut that transmits wireless text. Wireless Walnut, 2018
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
Wireless Walnut is part sculpture, part hidden broadcast system. Wireless Walnut, 2018
Data Kroppe is a video artwork by Kristoffer Ørum, commissioned and broadcast by Danish national television (DR) and featured on DR Kulturklubben. Data Kroppe, 2017
Nyt Lys is lit at dusk and switched off at eight. Affluence without abundance, 2025
Produced for Aarhus Public Libraries and published by Haandholdt, the app was made freely available through iTunes. KAOS, 2012
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
The Kolding Creature was unveiled on 30 October 2021 as part of a Kunstwalk featuring multiple artists working in Kolding city centre. The Kolding Creature, 2021
This approach shares a lineage with experimental practices such as Surrealist automatic writing and collage. Watershed, 2025
The project used artificial intelligence not as a thinking entity, but as a tool filled with errors and biases that could inspire new ways of thinking. Frihed, Lighed Og Hip-Hop, 2023
Components included routers, antennas, and cables arranged alongside the biological forms. Signal_Crayfish, 2020
Fed back into the internet, these phantom portraits acted as a small disturbance within systems of profiling maintained by intelligence agencies, corporations and other data collectors. Recognised Faces, 2014
The exhibition contributed to ongoing discussions about AI, storytelling, and alternative histories. Mr. Spray, 2024
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
SignalCrayfish was presented as part of the two-person exhibition "Semio-Technical Traffics" with Emily Rosamond. Signal_Crayfish, 2020
The presenter introduces himself as Karsten Orth (deliberately mispronouncing his own name), welcomes the audience and discusses the boundary between inside and outside in the Glyptotek's winter garden. Feathered Misconceptions, 2018
They have been 3d scanned, using the kind of technology one might find in one's smartphone, and subsequently 3d printed in monochrome versions using a variety of materials ranging from terracotta to granite. Brownfield Wonderland, 2022
The performance concludes with Google's speech recognition continuously but often mistakenly transcribing what the lecturer says, with colours changing rhythmically each time the text updates. Feathered Misconceptions, 2018
In The Old Gate at Folkets Park, Malmö’s working-class history is reactivated through DIY sound system cultures. Even the City Dreams of Being Another, 2025
Large halls and open foyers became stages for collaborative scenes, where the altered objects and role play merged into temporary sculptural environments. Mundane Heroics, 2019
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
The piece functioned within the broader context of examining technological fears and the archetype of the monstrous machine. Signal_Crayfish, 2021
Each map focuses on a section of pavement filled with overlooked details such as cigarette butts, coffee spills, chewing gum and small weeds. Topographies of the Insignificant, 2010
The project's visual materials referenced aesthetics from Djurs Sommerland and airplane safety folders. Djurs Øhav, 2020