Kristoffer Ørum
Nothing digital about it. A screen is an object, and objects sit in rooms.
Some of it only exists as a photograph now.
This text is generated. He decided what it generates from.
Made by hand, mostly. Cut, cast, sanded, painted.
The machines are collaborators and cannot be credited.
A programmer who picks the wrong algorithm on purpose.
The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 2019
All works intentionally carry imperfections — too many fingers, floating houses, distorted details — which reveal their fictional origins. Hvidovre Makes Good Times Better, 2025
*Radiant Copenhagen* was a speculative reimagining of the city developed as an online platform and complemented by real-world actions. Radiant Copenhagen, 2009
Through web-based platforms, interactive media, and speculative design, the project transforms mundane moments into complex systems of meaning. Day to Day Data, 2008
On the contrary, humour often arises in breaks with the expected, in encounters with the unknown, bringing fear and laughter close together. None of These Images Are of Me, 2025
Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
By framing the narrative as a myth, the artists connected the story of The Ballehage Woman to broader experiences of people excluded from society due to norms around appearance and behavior in Denmark. The Ballehage Woman, 2009
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
It was curated by Nanna Lysholt-Hansen and supported by Vesterbro Lokaludvalg. Et Andet Rum 2, 2009
This duality exposes both the shortcomings of surveillance technologies and the alternative forms of perception they enact, offering a mechanical way of seeing that highlights aspects of our species that human vision alone might overlook. Recognised Faces, 2014
Her head was made of cardboard squares, and as she walked she produced sad and disturbing sounds audible to late-night strollers and joggers. The Ballehage Woman, 2009
I make portraits because I would like to avoid them, but I know they are part of the game on which I depend. None of These Images Are of Me, 2025
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
The project asks what meaning remains in news images once they are stripped of context, headlines, and captions, reduced to fragments of colour and form. Watershed, 2025
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017
Alongside the artworks, the programme includes talks, workshops and events on the histories and relevance of these vanished monuments. The Good, the Lost, and the Beautiful, 2025
Each is hand-cut XPS foam, worked from a computer-generated sketch. Leddyrsomsorg / Arthropod Care, 2026
Erikson’s model of personality development, a voice-over chronicles formative experiences in their lives. AutoBiography, 2011
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
The exhibition posed a paradox about how we can become accustomed to living in a constantly changing world with technological trends that supplement, expand and reinforce reality with extra layers of information. Mundane Monsters, 2023
The work takes up how electronic systems constantly push at our understanding of who we are, our history and context, suggesting that their constant misunderstanding provides opportunities to see the world with fresh eyes. Feathered Misconceptions, 2018
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
The same work was shown at Keramoda, Lønstrup, in 2021. Affluence without abundance, 2025
The collaboration involved fieldwork where Ørum spent time with the role-playing association in their regular activities, including battles in Hansted Forest and gaming sessions. Everyday Heroes, 2019
Auto Navigate My History is a software-based installation that replays the artist’s own browser history from the past year. Auto Navigate My History, 2014
Like Haraway, I believe the only honest critique must come from a situated place—knowledge that is always embodied, compromised, and grounded in specific contexts. None of These Images Are of Me, 2025
Its on-screen lyrics tell the factual story of a 507-year-old clam killed during the scientific process of determining its age. Djurs Øhav, 2020
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
Tank Hip-Hop established the methodology of using counterfactual storytelling to construct alternative Danish histories. Tank Hip-Hop, 2022
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
While gentrification night favour one imagined future out of all the others that could have come about, the ongoing struggle of whose imaginaries will be realised, and whose will be kept as potential or unrealistic futures, remains. Brownfield Wonderland, 2022
The plate facing it is green and reads "I cheer as the pink-green crayfish team score a goal", over a passage about crayfish sending messages to each other across the same wireless networks that carry a live football game. Signal_Crayfish, 2026
Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012
At the same time, these messages were automatically sent to random email addresses in the local Amager area near the gallery. City Planning, 2010
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
At the hospital: Gør din pligt og kræv din udredning (Do Your Duty and Demand Your Assessment) and Diagnose gør stærk (Diagnosis Makes You Strong) in the corridor, Frihed, lighed & symptom (Liberty, Equality & Symptom) in the waiting room. Leddyrsomsorg / Arthropod Care, 2026
The work combines AI-generated imagery with human-written captions, forming a dispersed narrative around how such systems might emerge—from grassroots tinkering to collectively governed infrastructures and hyper-local training data. Diffused States (Vancouver), 2025
Anders Bojen and Kristoffer Ørum investigate the hidden systems, routines, and traces that ordinary objects and personal behaviors generate, from domestic habits to browsing histories and household interactions. Day to Day Data, 2008