Kristoffer Ørum
Some of it only exists as a photograph now.
Mostly it is admin.
The machines are collaborators and cannot be credited.
A documentary practice. Every work here has an address and a date.
The website keeps itself up to date. He does not.
A lot of it is waiting for a render to finish.
Kristoffer Ørum’s contribution imagines Malmö as shaped by the afterlives of its industrial past and alternative forms of civic imagination. Even the City Dreams of Being Another, 2025
The exhibition continued this approach, combining speculation with a documentary style to produce objects that felt like remnants of possible futures. The End of the Universe as We Know It?, 2007
Facial features in the collected images were identified using Stasm, an open-source software package for facial recognition originally developed for biometric applications. Recognised Faces, 2014
Figures gather for shared meals, sweep longhouse floors, inscribe runes like graffiti, perform stylised rituals, or take part in dance battles and DJ sets using flat stones. The Good, the Lost, and the Beautiful, 2025
The work examined how digital recognition systems and facial detection algorithms influence perception and identity. Putins Nose, 2018
One was an animated video about life inside an oyster. Djurs Øhav, 2020
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
A sink was reconstructed containing pasta, while spaghetti was modelled from FIMO clay. Invisible Objects, 2016
Hollow but convincing memories of the potential of what was before, not unlike 3d architectural renderings whose apparent realism hides the hollow and malleable nature of 3d graphics. Brownfield Wonderland, 2022
It questions the implications of surveillance, the accumulation of digital traces, and the way ordinary routines are recorded and interpreted. Day to Day Data, 2008
Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024
Disparate subjects such as English Vorticism, brainwaves, animal perception, and doomsday scenarios were connected in an increasingly ambitious thesis. The Pattern In Us All, 2007
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024
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 displays a computer screen automatically navigating through previously visited websites, creating a continuous and randomised journey across traces of personal online activity. Auto Navigate My History, 2014
The talk is about not knowing whether it is a lecture or a performance, and about deciding not to settle the question. A Human Pretending To Be An Artist Pretending To Be A Crayfish, 2022
It employs a computational process to dismantle and reassemble the daily flow of news images into a navigable world built from their fragments. Watershed, 2025
The electromagnetic pick-ups were integrated into the crayfish body parts, creating hybrid biological-technological entities that could detect and respond to electromagnetic fields in the environment. Signal_Crayfish, 2021
The project challenged both artists and associations to step out of their comfort zones and rethink their practices. Everyday Heroes, 2019
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
Exhibition aboard the ship Svartlöga at Ebeltoft Fregathavnen examining climate change scenarios where Djursland becomes an archipelago. Ebeltoft After The Flood, 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
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
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
The work was installed in the lobby of the National Danish Broadcaster (DR) as part of Glowing Climate, organized by Illumenarts in 2009. The Wave, 2009
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
Generated with a Chinese variant of the Huyuan algorithm, the images include intentional misreadings of the runic inscriptions, echoing centuries of translation, loss, and projection. The Good, the Lost, and the Beautiful, 2025
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
They are the most revealing parts of the process. Speaker 1, 2026
"REVISIT: EROTIK" revisited Overgaden's 1989 "EROTIK" exhibition, which featured 48 female photographers and drew 100,000 visitors. Sucker Trick, 2017
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
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019
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
Once connected to a computer and powered up, the device generates multiple Wi-Fi networks. Wireless Walnut, 2018
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
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
Bojen and Ørum’s work often moves between science fiction and popular science, with references to comic books, television formats and advertising language. The End of the Universe as We Know It?, 2007
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
The work functions as a digital rendering where Putin's face operates as an isolated entity, functioning similarly to orthodox religious icons. Vladimir's Tongue, 2020
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