Kristoffer Ørum
A lot of it is waiting for a render to finish.
A teacher who keeps a studio in order to have something to teach from.
Not research. The works were made first and explained afterwards.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Nothing digital about it. A screen is an object, and objects sit in rooms.
Local. Copenhagen and Aarhus, mostly.
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
The exhibition was part of SixtyEight Art Institute's two-year programme "Modes and Notes on the Local". Signal_Crayfish, 2020
Maps are freely available across Aalborg, and the project’s website continues to expand its speculative histories. Aalborg Is The Future, 2024
The book presents ten different pattern scenarios, ranging from animal vision and camouflage to government propaganda through patterned textiles. Once We All Walk through Solid Objects, 2007
The work featured 3D-printed signal crayfish models, USB-connected gadgets, and digital manipulations. Signal_Crayfish, 2020
The exhibition was accompanied by the website Mundanemonsters.oerum.org and a series of interventions in the local urban space. Mundane Monsters, 2023
The invasive biological species served as an analogy for invasive digital technologies and data collection systems. Signal_Crayfish, 2020
The exhibition took as its subject the sources of inspiration behind artistic practice, inviting 35 Danish artists to contribute an object, material, or work that revealed part of their process. Auto Navigate My History, 2014
This duality exposes both the shortcomings of surveillance technologies and the alternative forms of perception they enact, offering a mechanical way of seeing that highlights aspects of our species that human vision alone might overlook. Recognised Faces, 2014
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
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
Game Continent transformed The Aarhus Art Building and its surrounding neighbourhood into a living game world. Game Continent, 2010
The installation combined the physical presence of the large-scale 3D-printed oyster sculpture with video content projecting the voices and experiences of future oyster-dwellers. Affluence without abundance, 2021
My focus, however, lands on the moments of breakdown and confusion where this logic fails. Speaker 1, 2026
Malmö New City Hall presents a playful, speculative bureaucracy infused with hip-hop culture, where city planning unfolds through rap battles, breakdancing, and public meetings turned into performative spaces of collective decision-making. Even the City Dreams of Being Another, 2025
Participants could literally become a nose by borrowing a nose-shaped mask with a built-in audio guide for a walk in the area around Lokale. According to the Nose, 2021
The photo album was discovered among the salvaged items when the ship was recovered. Depth Estimation, 2019
Taking its starting point in classical ideas about the end of the world, the exhibition mixed anxiety and faith in the future into a playful soap-opera-like narrative, relocating human fate to mysterious experiments of a distant time. The End of the Universe as We Know It?, 2007
The site opens on the series title and a single line — "Would you like to know more?" — set in pale green with a cartoon crayfish at the edge of the frame. Would You Like to Know More, 2017
The photographs were found in a cabin after the vessel had spent seven days on the seabed, having been exposed to three atmospheres of pressure and salt water. Depth Estimation, 2019
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
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
Perhaps there is more hope in admitting how deeply we are all entangled. None of These Images Are of Me, 2025
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
The exhibition at Kunsthal for Maritim Æstetik included a large 3D-printed map depicting Djursland as a flooded archipelago and smaller objects like a 3D-printed oyster with eyes. Djurs Øhav, 2020
The book is ring-bound and its plates are 3D-printed. Signal_Crayfish, 2026
We are guided by digital defaults, where smartphone cameras enhance, correct, or beautify before we even see the result. Watershed, 2025
In collaboration with local live role-players, Anders Bojen and Kristoffer Ørum created a fictitious universe whose rules and borders were only fully known to its participants. Game Continent, 2010
All images were generated using Flux.1 diffusion models from Black Forest, on a used computer powered by green-certified Nordic solar, wind, and hydro energy. Hvidovre Makes Good Times Better, 2025
The project dismantles these logics and scrambles their effects. Watershed, 2025
It is based on the belief that there is no inevitability to the current process of gentrification, it is simply one choice taken out of a million other possible ways we could develop our cities. Brownfield Wonderland, 2022
The inkjet transfer process applied the processed imagery to the printed form. Depth Estimation, 2019
Strange audio players and distorted timelines hint at other ways things could have turned out, with hip-hop positioned not as a fixed genre or imported form, but as a set of evolving principles. Aarhus'er #1, 2025
Instead, it opens up space for interpretation, uncertainty and collective speculation, asking visitors to consider alternative trajectories for urban development, cultural production, and collective organisation. Aarhus'er #1, 2025
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
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
The work referenced Gustave Courbet's 1866 painting "L'Origine du monde", which was kept hidden behind a curtain for over a century. Sucker Trick, 2017
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
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 performative lecture addresses how we might recover some semblance of agency and hope while living under the gaze of ever more watchful algorithmic systems of control. It Sings for Us of What We Might Become, 2019