Kristoffer Ørum
Works with animals that have not agreed to it.
Not a joke.
A programmer who picks the wrong algorithm on purpose.
An artist who makes things up about real places.
A record-keeper. The website is the work.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
An urban planning term for any previously developed land that is not currently in use. Brownfield Wonderland, 2022
The images are unstable and shifting, conjuring a welfare system built on an uneasy combination of nature and technology that is neither utopian nor dystopian but simply strange and somehow plausible. Leddyrsomsorg / Arthropod Care, 2026
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
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024
Disbelieving Gravity is an interactive online game created for the Net.Specific exhibition Communication Paths. Disbelieving Gravity, 2013
Another, the film The City that No Longer Exists (2020), was shown as a projection of a purple oyster narrating a story where humans transform into oyster-like beings after their city on a drained lake is flooded. Djurs Øhav, 2020
Each scanning session lasted approximately 30 minutes and included conversations between pet owners and the artist about their animals. The Kolding Creature, 2021
Two texts were airbrushed directly onto the wall using beetroot juice for the group exhibition *Qua Aqua* at Koldinggade 12 in Copenhagen. Qua Aqua (Beetroot Texts), 2017
Recognised Faces unfolded publicly on a dedicated Tumblr, where the daily composites accumulated into a year-long portrait of both an individual and the internet’s visual culture at large. Recognised Faces, 2014
The Glyptotek building emerges from darkness with its solid architecture beginning to flow whilst first hair and then colourful feathers grow out of the building, transforming it. Feathered Misconceptions, 2018
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
This invisibility operates on several levels. Watershed, 2025
Additional elements included a video installation where visitors had Putin's face projected over them, making them momentarily become Putin speaking about Russian male superiority and Western decadence. Putin's Nose, 2019
The work was exhibited at Vejle Kunstmuseum from March to August 2020, then at Holstebro Kunstmuseum from September 2020 to January 2021. Signal_Crayfish, 2020
Pet owners were invited to register at kolding.monster and bring their animals for scanning sessions on 24-25 September 2021 at the sustainability house on Jernbanegade 3. The Kolding Creature, 2021
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
At the moment the building site is a site of overlapping and contested imaginaries and Brownfield Wonderland is a celebration of this brief moment where two ideas of what a city is coexist. Brownfield Wonderland, 2022
The performance questions traditional notions of heroic bodies and monochrome histories, imagining instead non-heroic bodies in soft, feathered institutions that function as part of a collective ecosystem. Feathered Misconceptions, 2018
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
Rather than scaling towards planetary computation, this speculative trajectory follows a slower, more situated evolution—one in which algorithms adapt to the languages, histories, and needs of their immediate context. Diffused States (Vancouver), 2025
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
According to the Nose was a walking protocol that provided opportunities to consider what life would look like if you were a nose. According to the Nose, 2021
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
The aesthetic of this space is deliberately glitchy and non-photorealistic. Watershed, 2025
Putin's Nose was a multi-year project that sought to turn surveillance systems' simplified identity categories and tools against themselves. Putin's Nose, 2019
The centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
The series also exists as gallery installations, an artist's book and 3D prints; this is its web form. Would You Like to Know More, 2017
The work combined various media to create a cohesive environment that challenged perceptions of digital and physical reality. Mundane Monsters, 2022
A third video, A Song for Ming, was a karaoke track by Kristoffer Ærørum with music and performance by Josefine Struckmann. Djurs Øhav, 2020
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
The title refers to multiple senses of “diffusion”: the technical process of image generation; the social circulation of tools and knowledge; and the physical dispersal of small-scale devices across different environments. Diffused States (Vancouver), 2025
Each email contained a unique, computer-generated text announcing fictional construction projects — ranging from the plausible to the fantastic. City Planning, 2010
The exhibition featured 26 contemporary artists responding to photographs that had been recovered from the ship Svartlöga after it capsized and sank in August 2018. Depth Estimation, 2019
The work operates as both a technical demonstration and a poetic meditation on the relationship between computation and imagination, revealing the "reservoirs of strangeness" that exist within everyday technological objects. Coffee Lake, 2019
I miss images that are weird, flawed, or personal. None of These Images Are of Me, 2025
The exhibition recounted the story of a black magnetic fluid, ferrofluid, that generated forms and figures without human interaction. The End of the Universe as We Know It?, 2007
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
Documentation: - Liveart.dk project page - Nilas Dumstrei – Mundane Heroics - Liveart.dk overview - Kristoffer Ørum – Liveart.dk profile - ANTI Festival background - Facebook event archive - Video documentation on YouTube Mundane Heroics, 2019
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020