Kristoffer Ørum
An artist who makes things up about real places.
Solitary. One person decides what is documented and what is forgotten.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Not a joke.
This text is generated. He decided what it generates from.
A record-keeper. The website is the work.
The installation drew connections between magic, architecture and eroticism through practices of showing and hiding. Sucker Trick, 2017
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
Search for Carrot ExtraTerrestrial Intelligence, 2006, is a PAL DVD video with a duration of 22 minutes, created in collaboration with Anders Bojen. Search for Carrot ExtraTerrestrial Intelligence, 2006
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
Shown with Colette Fu, Diagonal Press / Tauba Auerbach, Kate Conlon, Myungah Hyon, Neta Bomani, Noam Youngrak Son, Sonnenzimmer / Nick Butcher, Nadine Nakanishi, Rujuta Rao, Stephanie Simek and THUNGRY / bex ya yolk. Signal_Crayfish, 2026
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
The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021
The work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
Using the fictional device Scope 3000, he ultimately merged with the patterns themselves. The Pattern In Us All, 2007
The title reflects several forms of diffusion: the algorithmic process of generating images; the grassroots spread of ideas and tools; and the physical scattering of devices across different environments. Diffused States (Lexington), 2025
The electromagnetic pick-ups were integrated into the crayfish body parts, creating hybrid biological-technological entities that could detect and respond to electromagnetic fields in the environment. Signal_Crayfish, 2021
The performative lecture addresses how we might recover some semblance of agency and hope while living under the gaze of ever more watchful algorithmic systems of control. It Sings for Us of What We Might Become, 2019
The project also speaks to a transitional moment. Watershed, 2025
Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013
Ørum's contribution used algorithmic depth estimation to analyse one of the recovered photographs and generate a three-dimensional interpretation. Depth Estimation, 2019
The selected sites appear to lack history or unique features, yet they contain complex layers of information and hidden connections. Topographies of the Insignificant, 2010
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
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 was curated by Nanna Lysholt-Hansen and supported by Vesterbro Lokaludvalg. Et Andet Rum 2, 2009
The project has been discussed in Vice and elsewhere as a reflection on surveillance, aesthetics and identity in the age of algorithmic vision. Recognised Faces, 2014
The installation is accompanied by a series of AI-generated postcards that reimagine Viking life in the style of idealised holiday imagery. The Good, the Lost, and the Beautiful, 2025
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022
Until redevelopment started a few years ago, the area had somehow managed to escaped both commercial and municipal interest. Brownfield Wonderland, 2022
The project involved both the creation of a physical artist's book and a 3D-printed sculptural element integrated into the cover design. Signal_Crayfish, 2021
These moments reflect our own unstable, contradictory digital selves. Speaker 1, 2026
As a result, it is now defunct and can no longer be accessed in its original form. Topographies of the Insignificant, 2010
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
The animated scene acts as a virtual doubling of both the street in front and the interior space behind the window. Et Andet Rum 2, 2009
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
The liquid stains my hands when I reach into the vegetable drawer. Qua Aqua (Beetroot Texts), 2017
The installation examined how concealment can create tension between what is covered and potentially uncovered. Sucker Trick, 2017
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
Working with AI models trained on biased data, the project asks how such systems can still be repurposed to imagine collective and collaborative futures. Diffused States (Boston), 2025
The animation recreates the street outside the former artist-run space, projecting a computer-generated scene onto a screen covering the window. Et Andet Rum 2, 2009
The exhibition contributed to ongoing discussions about AI, storytelling, and alternative histories. Mr. Spray, 2024
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
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019
By juxtaposing the logic of role-play with the conventions of the museum, *Game Continent* created a moment of disorientation. Game Continent, 2010
The work took the form of an artist's book featuring a 3D-printed signal crayfish sculpture on the cover. Signal_Crayfish, 2021