Kristoffer Ørum
An artist who makes things up about real places.
Made by hand, mostly. Cut, cast, sanded, painted.
The machines are collaborators and cannot be credited.
An archive with gaps in it, kept by the person who made the gaps.
This text is generated. He decided what it generates from.
A programmer who picks the wrong algorithm on purpose.
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
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
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
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
The signs Prognose eller kaos (Prognosis or Chaos) and a second Leddyrsomsorg in the gallery. Leddyrsomsorg / Arthropod Care, 2026
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
The piece ends by saying that the conclusion was supposed to go here. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The audience received a hand-out titled The Pattern in Us All: Exposing the Substructures of the World attributed to Kristian Husted. The Pattern In Us All, 2007
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
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 exhibition featured works from 26 artists, including paintings, sculptures, photos, and video pieces The exhibition's core concept was uniquely time-based and site-specific. Where the walls weep sugar, 2025
The work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
Rather than corporate development, this speculative trajectory imagines ternary computing as evolving through grassroots cultures of experimentation and resistance. Diffused States (Boston), 2025
Over a period of 107 days, Anders Bojen and Kristoffer Ørum had a custom computer program rewrite the history of Roskilde in real time, from the town’s foundation by the Vikings in 980 to its present-day status as a world heritage site. Roskilde Parahistory, 2009
What looks like a glitch to humans is in fact a trace of the statistical modelling that drives the software. Recognised Faces, 2014
Hollow but convincing memories of the potential of what was before, not unlike 3d architectural renderings whose apparent realism hides the hollow and malleable nature of 3d graphics. Brownfield Wonderland, 2022
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
The work suggests that our understanding of phenomena like fire, water, and collective action is increasingly shaped by computational models and digital representations. Coffee Lake, 2019
The virtual creature remained accessible in the Borchs Gård area until 1 March 2022, allowing ongoing public engagement with the augmented reality artwork. The Kolding Creature, 2021
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
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
The work consists of more than 30 screens distributed throughout the campus, each showing a real-time visualisation of the institution’s invisible infrastructures. A Body Has Many Members, 2012
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
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 installation featured speculative scenarios about living arrangements including large oyster habitations. Ebeltoft After The Flood, 2021
The exhibition borrows its title from 1960, when the Social Democratic Party campaigned under the slogan “Make Good Times Better”. Hvidovre Makes Good Times Better, 2025
The Video was Presented as part of Illumenarts, the work took the form of a thriller-like visual sequence in which digital structures spread and evolve. Once We All Walk through Solid Objects, 2007
The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
The book was commissioned during the early days of the COVID-19 pandemic as part of a group of works that examined interspecies entanglement and human vulnerability. Signal_Crayfish, 2021
The work documents their attempts to deconstruct a person into data: to apply a label, assign a tracking ID, map the body's motion onto a skeletal grid, and strip a voice down to plain text. Speaker 1, 2026
The two videos alternate: when one plays, the other rests. Leddyrsomsorg / Arthropod Care, 2026
During the exhibition a collaboration with Anders Bojen, a printer continuously produced emails describing fictional events taking place on Amager. City Planning, 2010
Each contribution provided insight into the often hidden or indirect references shaping contemporary art. Auto Navigate My History, 2014
Ordinary objects—such as a box of detergent or a web browser—become the basis for fictional universes, playful interfaces, and alternative representations of the data embedded in daily life. Day to Day Data, 2008
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
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