Kristoffer Ørum
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Not a joke.
This text is generated. He decided what it generates from.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
A lot of it is waiting for a render to finish.
Research. Somebody is going to have to examine it.
The same work was shown at Keramoda, Lønstrup, in 2021. Affluence without abundance, 2025
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
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
Sometimes he has time to update it, sometimes he does not.
These images, generated through AI, deliberately embrace glitches and impossibilities to question how historical narratives are constructed and repeated. Aarhus'er #1, 2025
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
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 invasive biological species served as an analogy for invasive digital technologies and data collection systems. Signal_Crayfish, 2020
Lesson plans, assessment structures and financial data are translated into dynamic graphics, situating the institution in relation to broader societal forces and its individual members. A Body Has Many Members, 2012
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 work involved 3D-printing signal crayfish models equipped with electromagnetic sensing components. Signal_Crayfish, 2021
These objects continuously monitored conversations in the gallery space, converting spoken words into text through automated transcription systems, then physically printing the transcribed text. Listening Without Ears, 2019
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 piece was first aired on November 7, 2017, as part of a series on innovative expressions in public media. Data Kroppe, 2017
The work was exhibited at ARoS Public's communication centre on the third floor from May to July 2021, alongside works by Danish and international artists including Lawrence Lek, Morehshin Allahyari, Stephanie Dinkins, and others. Signal_Crayfish, 2021
With deepfakes and decentralised information sources, the photograph’s credibility as evidence is under renewed scrutiny. Watershed, 2025
The publication set out the species' survival capabilities and cross-distance chemical communication systems, positioning the crayfish as superior to human technological networks in this comparison. Signal_Crayfish, 2021
The video Computer-generated video and sound, 20 min, made with WAN 2.1 on a local RTX 4090, projected on the end wall of a darkened gallery. Leddyrsomsorg / Arthropod Care, 2026
The voices are those of the people who live in them. Affluence without abundance, 2025
By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014
The project connected personal memory (the grandmother's nose) with political imagery (Putin's face) through everyday objects (beetroots) and digital mediation. Putins Nose, 2018
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 exhibition consisted of stencils painted with beetroot juice, 3D-printed noses and beetroots, inkjet prints, a webcam and screens of various sizes with nose recognition, texts and animation. Putin's Nose, 2019
Auto Navigate My History uses the digital archive of daily browsing as both source and medium. Auto Navigate My History, 2014
In this counterfactual history, data is not extracted at scale but circulated within communities, adapting to local needs, languages, and cultural references. Diffused States (Lexington), 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 installation asked speculative questions: Can you remember when Prime Minister Helle Thorning played a DJ set in Parliament instead of giving an opening speech? Frihed, Lighed Og Hip-Hop, 2023
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
Even the City Dreams of Being Another is part of the exhibition At the Edge II, presented at Skene in Malmö. Even the City Dreams of Being Another, 2025
Signal_Crayfish was commissioned as a book work for "Interspecies Futures ," the first survey of bookworks by international practitioners from bio-art and speculative design fields. Signal_Crayfish, 2021
The scanning process was designed to be gentle and non-intrusive for the animals whilst collecting the digital data needed to construct the hybrid creature. The Kolding Creature, 2021
The project dismantles these logics and scrambles their effects. Watershed, 2025
A model of a Cosmic Carrot ray invented by the fictional Dr. Cosmic Carrot, 2005
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
The project aimed to examine new forms of dialogue in contemporary art on different terms than previously known. Everyday Heroes, 2019
Diffused States was part of the Data Fluencies exhibition curated by Roopa, on the diverse ways artists engage with, resist, or reimagine data. Diffused States (Boston), 2025
The work functioned as both catalogue and speculative field guide, examining the invasive species through the lens of technological comparison. Signal_Crayfish, 2021
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