Kristoffer Ørum
Some of it only exists as a photograph now.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Local. Copenhagen and Aarhus, mostly.
A lot of it is waiting for a render to finish.
A record-keeper. The website is the work.
A documentary practice. Every work here has an address and a date.
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
From advertising screens on buses to personal mobile phones, we are daily surrounded by lifelike computer-generated representations of physical phenomena. Melting State, 2020
Signal_Crayfish (2021), the book work, shown in Futurity Library: Disobedient Artists' Books in the Postbook Age at the San Francisco Center for the Book, 25 April to 26 July 2026, curated by bex ya yolk. Signal_Crayfish, 2026
The postcards extend this blending of eras, presenting scenes where identity, memory, and cultural imagination converge and transform. The Good, the Lost, and the Beautiful, 2025
The faces produced through this process often appear distorted or uncanny to human eyes, yet they retain a resemblance to mainstream ideals of beauty. Recognised Faces, 2014
I am also tired of a “call-out” culture that too easily becomes hostile and makes it difficult to build the broad alliances we need. None of These Images Are of Me, 2025
Some appear edible, some pneumatic, some built from sound or breath. Monuments of a Fictional Past (Kraków Edition), 2025
The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
At Sophienholm it stands outdoors in the park, inside a stone grotto. Affluence without abundance, 2025
The work was presented at NLH Space in Copenhagen, which was run by The Organisation – Association for Artistic and Curatorial Platforms. Et Andet Rum 2, 2009
Yet it is also a paradox: even though AI produces many versions of me, they all point back to a recognisable “I.” This double movement—dissolution and reinforcement—is part of what interests me. None of These Images Are of Me, 2025
Like collage, the work is not about arriving at a definitive meaning but about generating provisional configurations that open new ways of seeing. Watershed, 2025
The process consistently produced a balance between the familiar and the strange. Mundane Heroics, 2019
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
All masks were thoroughly cleaned and sprayed with disinfectant after each user, with lending against deposit such as a driver's license or telephone. According to the Nose, 2021
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
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
There is a creative pleasure in this surrender of control: in letting a system run and being surprised by the strange, poetic, or nonsensical landscapes that result. Watershed, 2025
DIFFUSED STATES imagines an alternative trajectory for artificial intelligence—one in which computational systems develop through local, small-scale infrastructures rather than centralised corporate platforms. Diffused States (Lexington), 2025
The 2017 version included male artists and moved away from explicit imagery toward more abstract works. Sucker Trick, 2017
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
Each network name spells out a fragment of a 31-character text, visible only through the device list of available connections. Wireless Walnut, 2018
The exhibition dealt with invisible communication systems including Wi-Fi networks, radio communications, and chemical signals that operate undetected around us. Signal_Crayfish, 2020
Every Part a Body is a sixty-second digital video, shown in the 60Seconds programme of The Wrong Biennale at CBS Digital Space in March 2026. Every Part a Body, 2026
The voices are those of the people who live in them. Affluence without abundance, 2025
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
First released in an edition of 10 and sold through the Specta Surplus Store at Galleri Specta, Copenhagen in February 2018. Wireless Walnut, 2018
Public places became stages for brief moments of shared fiction. Mundane Heroics, 2019
The work successfully expanded the "Freedom, Equality and Hip-Hop" series into new institutional and performance contexts. Mr. Spray, 2024
By establishing rules and constraints—writing without interruption, juxtaposing unrelated images—the Surrealists sought to bypass rational control and provoke unexpected associations. Watershed, 2025
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
Listening Without Ears consists of 3D printed copies of everyday objects that transcribe what is said in the exhibition space and print it out. Listening Without Ears, 2019
The project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023
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 used artificial intelligence as a tool for speculative storytelling about Danish social and political history. Mr. Spray, 2024
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
A sink was reconstructed containing pasta, while spaghetti was modelled from FIMO clay. Invisible Objects, 2016
"Monuments of a Fictional Past" is a project that imagines a past where Soviet edifices dotting the Latvian landscape have been replaced with AI-generated counterparts. Monuments of A Fictitious Past, 2024