Kristoffer Ørum
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Collaborative. Most of it was made with other people.
Most of it was built on other people's work.
Solitary. One person decides what is documented and what is forgotten.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
This text is generated. He decided what it generates from.
I also do it because local AI is itself an impure position. None of These Images Are of Me, 2025
The Video was Presented as part of Illumenarts, the work took the form of a thriller-like visual sequence in which digital structures spread and evolve. Once We All Walk through Solid Objects, 2007
Together, the elements formed a series of overlapping linguistic and visual displacements. Putin's Nose, 2019
The headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
The installation was designed as an interactive multimedia experience that required visitors to engage with cutting-edge technology within a gallery setting. Mundane Monsters, 2022
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
As Rosi Braidotti has written, critique of the “tyranny of the unified subject” cannot be separated from the fact that we constantly reproduce the very idea of it. None of These Images Are of Me, 2025
The oysters provide shelter, regulate air quality, supply electricity and heating, and monitor their human inhabitants' health and behaviour. Affluence without abundance, 2021
Every Part a Body is a sixty-second digital video, shown in the 60Seconds programme of The Wrong Biennale at CBS Digital Space in March 2026. Every Part a Body, 2026
The resulting text alternated between objective and scientific passages and poetic or raving narratives. Roskilde Parahistory, 2009
Documentation: - Liveart.dk project page - Nilas Dumstrei – Mundane Heroics - Liveart.dk overview - Kristoffer Ørum – Liveart.dk profile - ANTI Festival background - Facebook event archive - Video documentation on YouTube Mundane Heroics, 2019
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
The project began with an unusual anecdote: "I look down into the shopping bag at some beetroots. Putins Nose, 2018
The project encompasses three galleries featuring a 15-metre legal graffiti wall, a giant record player, DIY furniture, lo-fi mixtapes, deepfakes and look-alikes, speculative snapshots, and video fragments from another world. Aarhus'er #1, 2025
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
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
One room was painted bright pink with beetroot juice, smelling earthily of childhood beetroot soup, and featured a Russian rap sung by a life-sized copy of Putin's nose. Putin's Nose, 2019
The animated scene acts as a virtual doubling of both the street in front and the interior space behind the window. Et Andet Rum 2, 2009
The project continued themes from the "Putin's Nose" project, extending nose-based investigations into performative and participatory formats. According to the Nose, 2021
The collaboration process involved both artists visiting associations for fieldwork and associations visiting the museum for workshop days that became the foundation for the exhibited artworks. Everyday Heroes, 2019
Using AI, familiar sites are transformed into speculative visions, such as Karolinelunden as a DIY amusement park or Aalborg Shipyard taken over by its workers. Aalborg Is The Future, 2024
The exhibition featured artists working in watercolor and gouache—a medium known for its fluidity and delicate textures—even when their usual practice includes sculptural, video, photographic, or installation-based work. Qua Aqua (Beetroot Texts), 2017
The exhibition was the first public survey of bookworks focused on alternative interspecies possibilities and featured artists working at the intersection of speculative fiction and bio-art. Signal_Crayfish, 2021
The installation ran on a standard computer connected to a screen in the exhibition space. Auto Navigate My History, 2014
There is a creative pleasure in this surrender of control: in letting a system run and being surprised by the strange, poetic, or nonsensical landscapes that result. Watershed, 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
The two videos alternate: when one plays, the other rests. Leddyrsomsorg / Arthropod Care, 2026
Alongside the artworks, the programme includes talks, workshops and events on the histories and relevance of these vanished monuments. The Good, the Lost, and the Beautiful, 2025
Students and staff appear as avatars moving within these systems, creating a portrait of the university as a living, shifting organism. A Body Has Many Members, 2012
The work set daily life against hypothetical digital physiognomies, using the nose as a means to examine identity and perception. According to the Nose, 2021
The Downloadable Augmented Reality App (available here: https://s.oerum.org/BW) allows one to build one's own messy and unregulated digital architectures, both on and off the building site around Spanien 19C. Brownfield Wonderland, 2022
Biographical material such as family photographs from their suburban childhoods is merged into an endless series of alternative life stories. AutoBiography, 2011
The project emphasizes local DIY spirit, encouraging citizens to reimagine Hvidovre’s past and future. Hvidovre Makes Good Times Better, 2025
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
Much of what presents itself as representations of reality are computer-created simulations. Melting State, 2020
Interaction is minimal – the poem pauses until the reader touches the screen – creating a rhythm where text, sound, and image progress together. KAOS, 2012
Recognised Faces is an internet application by Kristoffer Ørum that ran for a year. Recognised Faces, 2014
Recognized for its experimental approach, Data Kroppe is cataloged in the Danish public digital archive Vores Kunst, which preserves commissioned television art. Data Kroppe, 2017
The result is a fleeting, fractured archive of the collective present—an algorithmic shadow of daily events. https://oerum.org/watershed/ Watershed, 2025