Kristoffer Ørum
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
An archive with gaps in it, kept by the person who made the gaps.
Nothing digital about it. A screen is an object, and objects sit in rooms.
A programmer who picks the wrong algorithm on purpose.
Digital art.
Most of it was built on other people's work.
The sculptures were inspired by the role-players' own objects and toolkit, translating elements from their gaming practice into interactive art objects. Everyday Heroes, 2019
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
Would You Like to Know More is an internet work in the Signal_Crayfish series, published online by Radar Contemporary. Would You Like to Know More, 2017
In return, humans care for the oysters through cleaning, feeding, and gentle maintenance. Affluence without abundance, 2021
The work unfolds through short video sequences in which a man slowly unpacks a large box while Olsen’s text is read aloud. KAOS, 2012
Through this lens, the familiar streets and landmarks of Gdańsk are reimagined, highlighting the city’s layered histories, political influences, and the subjective experience of its inhabitants. A Subjective History of Gdańsk, 2011
The work was documented through performance protocols and connected to broader research into facial recognition, identity, and technological surveillance through embodied experience in public space. According to the Nose, 2021
Admitting this is not, in Andrea Fraser’s spirit, a defeat, but a strategy: I would rather acknowledge my own narcissism and greed and use them as material, than pretend I stand outside. None of These Images Are of Me, 2025
The work operated as both a functional listening device and a sculptural intervention, questioning the boundaries between surveillance, documentation, and artistic practice. Listening Without Ears, 2019
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
The resulting work consists of around 600 interlinked texts, images and videos. Topographies of the Insignificant, 2010
In the video, Ørum reflects on the human body as data by visually overlaying biometric patterns, abstracted motion, and rhythmic shifts of light and texture. Data Kroppe, 2017
Diffused States imagines a counterfactual technological history in which graffiti and phone phreaking converged through the discovery that modified spray paint could interact with electromagnetic infrastructure. Diffused States (Boston), 2025
A large yellow-green crayfish was positioned in the gallery window. Signal_Crayfish, 2020
The process consistently produced a balance between the familiar and the strange. Mundane Heroics, 2019
These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019
Set in three symbolic locations—Folkets Park, Drottninggatan 6, and a speculative Malmö City Hall—the work blends archival research with fiction to propose a reparative reading of urban space. Even the City Dreams of Being Another, 2025
This computational process was then used to create a 3D printed object in corn starch. Depth Estimation, 2019
Children and young people modified everyday objects such as chairs, umbrellas, tools, or clothing into hybrid sculptural forms. Mundane Heroics, 2019
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
Players learn a new language through twelve game-based exercises, each designed to deliberately reinterpret established ideas and challenge conventional understanding. Disbelieving Gravity, 2013
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
Instead of showing only what is lost when a human is translated into data, these moments offer a new perspective. Speaker 1, 2026
A third video, A Song for Ming, was a karaoke track by Kristoffer Ærørum with music and performance by Josefine Struckmann. Djurs Øhav, 2020
The centralised gatekeeping of 20th-century journalism has given way to fragmented, unstable formats. Watershed, 2025
The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011
I believe that vulnerability and the recognition of one’s own inadequacy can create stronger communities than ideals of moral purity. None of These Images Are of Me, 2025
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 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
The work suggests that our understanding of phenomena like fire, water, and collective action is increasingly shaped by computational models and digital representations. Coffee Lake, 2019
Mundane Heroics is a collaborative project by Kristoffer Ørum and Nilas Dumstrei. Mundane Heroics, 2019
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
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
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
The images are unstable and shifting, conjuring a welfare system built on an uneasy combination of nature and technology that is neither utopian nor dystopian but simply strange and somehow plausible. Leddyrsomsorg / Arthropod Care, 2026
The augmented reality component allowed viewers to see additional digital layers through their smartphone cameras, revealing hidden "monsters" that existed only in the augmented space. Mundane Monsters, 2022
It is an experiment in seeing, questioning not just what we see in the news, but how we are conditioned to see it. Watershed, 2025
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016
The piece functioned within the broader context of examining technological fears and the archetype of the monstrous machine. Signal_Crayfish, 2021
Watershed is an online art project about the algorithmic gaze in an era of digital news. Watershed, 2025