Kristoffer Ørum
An artist who makes things up about real places.
Works with animals that have not agreed to it.
A programmer who picks the wrong algorithm on purpose.
Made by hand, mostly. Cut, cast, sanded, painted.
Most of it was built on other people's work.
The machines are collaborators and cannot be credited.
The installation examined the concept of the "monstrous machine" - creatures that cross borders and assemble opposing parts, blurring categories to challenge perceptions of ourselves and technology. Signal_Crayfish, 2021
Rather than illustrating a lost history, the project manipulates familiar visual tropes and embraces the productive errors of AI. Aarhus'er #1, 2025
The work involved creating AI-generated posters and videos that depicted an alternative Danish history where the labour movement and 1990s hip-hop culture merged. Frihed, Lighed Og Hip-Hop, 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 project used the signal crayfish as a figure for examining digital surveillance and mapping of human movement through wireless networks. Signal_Crayfish, 2020
The work was documented in a video presentation and included in the festival’s program alongside other international and local artists working in experimental modes of storytelling and urban critique. A Subjective History of Gdańsk, 2011
Rather than simply discussing these themes, the performance stages a series of unstable software experiments and semi-fictional narratives, creating a situation that is deliberately out of the performer's control. It Sings for Us of What We Might Become, 2019
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
At Drottninggatan 6, the building itself becomes a collaborative canvas, shaped by decades of creative reuse. Even the City Dreams of Being Another, 2025
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
The system does not distinguish between what a photojournalist might frame as a central subject and what might appear incidental. Watershed, 2025
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 project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
It was accompanied by scholarly publication and received coverage in Danish art press. Signal_Crayfish, 2020
A chair, a refrigerator door containing a bottle of milk, a platter holding a watermelon, and a breadbox with a loaf of rye bread were produced in jesmonite with inner cores of flamingo foam that were dissolved in acetone. Invisible Objects, 2016
The work forms part of De Tabte Runesten, a group exhibition returning nine lost cultural artefacts to Rundetaarn through the visions of contemporary artists. The Good, the Lost, and the Beautiful, 2025
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 familiar rhythm of news consumption—fast, frictionless, designed for scanning—is replaced by movement through a spatial terrain. Watershed, 2025
This is a form of algorithmic seeing quite different from a human's—one that operates without narrative, hierarchy, or significance. Watershed, 2025
In the video, Ørum reflects on the human body as data by visually overlaying biometric patterns, abstracted motion, and rhythmic shifts of light and texture. Data Kroppe, 2017
Retired factory workers repurpose their technical knowledge to build speakers and maintain audio infrastructure, passing skills across generations. Even the City Dreams of Being Another, 2025
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
Running small, open systems on one’s own hardware provides a degree of autonomy and technological self-determination. None of These Images Are of Me, 2025
During this struggle of imaginaries Spanien 19C continues to function as an art space, wedged in between building sites of what is to come and fragments of what used to be. Brownfield Wonderland, 2022
They are the most revealing parts of the process. Speaker 1, 2026
Depth Estimation is a 3D printed sculpture made from corn starch with inkjet transfer, based on algorithmic depth estimation of a photograph. Depth Estimation, 2019
The project was supported by research conducted at Aarhus University as part of an ongoing investigation into the aesthetic dimensions of computational processes and automated interpretation systems. Listening Without Ears, 2019
The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021
In the weeks before, I was waiting for the results of cancer tests. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
The first part of the project was held at Galleri Image in Aarhus in 2017. Putin's Nose, 2019
Works were deliberately constructed with glitching and raw digital noise to make visible the technological mediation and signal transmission processes. Signal_Crayfish, 2020
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026
The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020
The Perfect Wave (2004) is a 3D animated video work by Anders Bojen & Kristoffer Ørum that takes as its subject the iconic and endlessly recurring image of a single wave. The Perfect Wave, 2004
By working with AI models trained on biased and incomplete datasets, DIFFUSED STATES engages with both their limitations and their possibilities. Diffused States (Vancouver), 2025
One was an animated video about life inside an oyster. Djurs Øhav, 2020
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
The liquid stains my hands when I reach into the vegetable drawer. Qua Aqua (Beetroot Texts), 2017
Google ads for tessellax.com used keywords like AROS and Sculpture by the Sea. The Ballehage Woman, 2009