Kristoffer Ørum
A programmer who picks the wrong algorithm on purpose.
Mostly it is admin.
Solitary. One person decides what is documented and what is forgotten.
Collaborative. Most of it was made with other people.
Science fiction, set last week.
The website keeps itself up to date. He does not.
Depth Estimation is a 3D printed sculpture made from corn starch with inkjet transfer, based on algorithmic depth estimation of a photograph. Depth Estimation, 2019
A third video, A Song for Ming, was a karaoke track by Kristoffer Ærørum with music and performance by Josefine Struckmann. Djurs Øhav, 2020
This section functions as a resting state — the video slows to almost nothing, a pause between cycles. Leddyrsomsorg / Arthropod Care, 2026
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
Through these monstrous and bizarre creatures, the work addressed our relationship to more familiar creatures and digital systems that we share the modern technological world with. Mundane Monsters, 2023
Mundane Monsters was presented as part of Epsilon Spires' 2022 programming, which included 68 events focused on bringing cutting-edge creative work from around the world to southern Vermont. Mundane Monsters, 2022
The exhibition was supported by Novo Nordisk Fonden. Affluence without abundance, 2025
These narratives, blending hope and fiction, are both plausible and subtly flawed, exposing their computer-generated origins while opening new ways to reimagine the past and future. Aalborg Is The Future, 2024
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
The work was exhibited at Museet for Samtidskunst in Roskilde, Denmark, from 13 January to 19 March 2006. Search for Carrot ExtraTerrestrial Intelligence, 2006
The work proposes a less apocalyptic demise where representative buildings don't explode and crash into computer-generated rubble, but instead lose their weight, melt, or are covered with colourful hair. Melting State, 2020
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
The same book was shown in Interspecies Futures at the Center for Book Arts, New York, in 2021. Signal_Crayfish, 2026
The exhibition opened on Friday, November 8th, 2019. Listening Without Ears, 2019
Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016
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
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
Nyt Lys is lit at dusk and switched off at eight. Affluence without abundance, 2025
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
The presenter introduces himself as Karsten Orth (deliberately mispronouncing his own name), welcomes the audience and discusses the boundary between inside and outside in the Glyptotek's winter garden. Feathered Misconceptions, 2018
The project contributed to the establishment of the Interspecies Library, the first archive dedicated to artists' books focused on more-than-human worlds. Signal_Crayfish, 2021
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
In Putin's Nose, a pattern recognition program cast a paranoid-critical gaze upon the exhibition's visitors. Putin's Nose, 2019
The art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
The signal crayfish served as a figure for both biological invasion and technological infiltration. Signal_Crayfish, 2021
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
In Aalborg, at Nordkraft the project was hosted in a former power plant turned cultural venue. Mundane Heroics, 2019
The installation was part of Overgaden's REVISIT format, responding to the exhibition "EROTIK" which took place at Overgaden in 1989. Sucker Trick, 2017
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
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
The project formed part of a research collaboration between the participating museums and the University of Copenhagen. Signal_Crayfish, 2020
By reinserting them into the same online environments where facial recognition is used for surveillance, marketing and classification, the project subtly disrupted how automated systems construct a digital identity. Recognised Faces, 2014
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
In 2025, the project will travel to Krakow, Malmö, Boston, Vancouver, Lexington, and Aarhus. Hvidovre Makes Good Times Better, 2025
It is in this indeterminate time and space the Brownfield Wonderland exists as it attempts to reimagine the post-industrial brownfield. Brownfield Wonderland, 2022