Kristoffer Ørum
The machines are collaborators and cannot be credited.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
A documentary practice. Every work here has an address and a date.
Mostly it is admin.
Science fiction, set last week.
Not a joke.
The exhibition Coming From took place from 23 August to 14 September 2014, with an opening on 22 August. Auto Navigate My History, 2014
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
It was curated by Nanna Lysholt-Hansen and supported by Vesterbro Lokaludvalg. Et Andet Rum 2, 2009
Using the fictional device Scope 3000, he ultimately merged with the patterns themselves. The Pattern In Us All, 2007
The fragments come from the site of Brownfield Wonderland, shown at Spanien 19C in November 2022. Brownfield Monument, 2022
The work utilises the props and techniques of an academic presentation in a playful and open-ended manner, examining present-day culture of classification and the potential of letting go of control. It Sings for Us of What We Might Become, 2019
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
Every one of them is answered here by an invented exhibition, one for one, running on from 2027 to 2053 at the same rate the place has always worked at: eight or ten shows a year, in the same room. Sydhavn Never Surrenders, 2026
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
A written version was later published as a paper. Ambiguous Physiognomy, 2017
A U-Net with three encoder stages, a 512-channel bottleneck and skip connections; 200 diffusion steps on a cosine schedule; a thousand epochs at 128 × 128 pixels. Blue Diffusion, 2026
The installation is accompanied by a series of AI-generated postcards that reimagine Viking life in the style of idealised holiday imagery. The Good, the Lost, and the Beautiful, 2025
Visitors encountered these figures both inside the museum and in everyday spaces, such as the local supermarket, where baguettes from the freezer section served as swords. Game Continent, 2010
The exhibition was accompanied by the website Mundanemonsters.oerum.org and a series of interventions in the local urban space. Mundane Monsters, 2023
The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
Blind Listening was presented as part of *I would prefer not to*, an exhibition at Meter (Copenhagen) on the potential of the non-productive, the meaningless, and the functional. Blind Listening, 2017
The artist-run space Spanien 19c used to be located in a messy and unregulated, but fairly central, part of the increasingly gentrified city of Aarhus. Brownfield Wonderland, 2022
The two screen captures below are the call page as it is served, at desktop and at phone width. Invite Me, 2026
Original photographs were by Henrik Grønborg, with exhibition photography by Billedmageren. Depth Estimation, 2019
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
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
From advertising screens on buses to personal mobile phones, we are daily surrounded by lifelike computer-generated representations of physical phenomena. Melting State, 2020
Each work cost at most 500 kroner on its day, and a tenth of the kiosk's profit went to Folkekirkens Nødhjælp's Christmas gifts. Brownfield Monument, 2022
A documentation photograph from the archive is run through a depth estimator, and the depth map, and nothing else from that photograph, is passed to the generator as control, through a second LoRA that conditions on depth. Sydhavn Never Surrenders, 2026
By exposing an otherwise private dataset in a public exhibition space, the work reflects on memory, digital traces, and the role of the internet as a space for both research and distraction. Auto Navigate My History, 2014
Some elements are only revealed through exploration, others remain invisible, and a hidden part of the project can be discovered by persistent visitors. Topographies of the Insignificant, 2010
None are permanent, but all leave residues—sonic, material, or narrative. Monuments of a Fictional Past (Kraków Edition), 2025
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
The wireless transmissions and video projections created an atmosphere where technology and nature intersected in unexpected ways. Mundane Monsters, 2022
In machine learning that is a fault, fixed with more data and heavier augmentation. Blue Diffusion, 2026
Standard interfaces are optimised for speed, reducing engagement to rapid recognition. Watershed, 2025
The resulting images visualise how computers perceive individuals not as whole people but as patterns within datasets. Recognised Faces, 2014
The game turns on how the concept of gravity is embedded in language, metaphors, and everyday actions. Disbelieving Gravity, 2013
The work pairs AI-generated images with non-AI captions to build a fragmented narrative of how such systems might emerge—from informal workshops to self-governed infrastructures and locally trained algorithms. Diffused States (Lexington), 2025
So does the yellow cast of the walls, the uneven window light, and in a few frames the shadow of the person taking the picture. Blue Diffusion, 2026
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
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
However, following decades of “misuse”, the area is presently being integrated back into the rest of the city as a productive and commercially viable new part of town called “art city”. Brownfield Wonderland, 2022
Over a period of 107 days, Anders Bojen and Kristoffer Ørum had a custom computer program rewrite the history of Roskilde in real time, from the town’s foundation by the Vikings in 980 to its present-day status as a world heritage site. Roskilde Parahistory, 2009