Kristoffer Ørum
Some of it only exists as a photograph now.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Twenty years out of art school, and back in it.
A programmer who picks the wrong algorithm on purpose.
A record-keeper. The website is the work.
Science fiction, set last week.
The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010
Transparent mobiles with polarisation filters cause the overlapping projections to shift constantly, creating a spatial interpretation of a hybrid and unstable identity. AutoBiography, 2011
The project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023
Yet it is also a paradox: even though AI produces many versions of me, they all point back to a recognisable “I.” This double movement—dissolution and reinforcement—is part of what interests me. None of These Images Are of Me, 2025
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
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 exhibition was curated by Ida Schyum as the third presentation in Radar Contemporary's Extensions series. Signal_Crayfish, 2021
Deconstructed 2D news images drift across a constructed 3D landscape, never pretending to be windows onto reality. Watershed, 2025
Players are encouraged to question the presumed truth of gravity and their own assumptions, gradually adopting a new perspective through interactive challenges. Disbelieving Gravity, 2013
The system does not distinguish between what a photojournalist might frame as a central subject and what might appear incidental. Watershed, 2025
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
At the same time, abstract projections of colour and computer-generated sound evolve according to the same underlying logic. AutoBiography, 2011
Tank Hip-Hop established the methodology of using counterfactual storytelling to construct alternative Danish histories. Tank Hip-Hop, 2022
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
Each map focuses on a section of pavement filled with overlooked details such as cigarette butts, coffee spills, chewing gum and small weeds. Topographies of the Insignificant, 2010
The starting point was the woodlouse as a kind of care worker. Leddyrsomsorg / Arthropod Care, 2026
Participants borrowed nose-shaped masks equipped with audio guides from Lokale, taking them on walks through the Nørrebro area around Griffenfeldsgade 27. According to the Nose, 2021
Within the installation, a microclimate experiment is contained in a coffeemaker, adding subtle atmospheric variation to the space. In a Dark Room/a Storm in a Coffee Cup, 2004
In a parallel way, Watershed treats the algorithm as a collaborator. Watershed, 2025
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
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
Curated by Kevin Malcolm (Vermilion Sands), the show brings together works by Jamila Drott, Maxime Hourani, Maia Torp Neergaard, and Kristoffer Ørum. Even the City Dreams of Being Another, 2025
The work featured voices of people who inhabit these oysters, taking in post-work society, symbiotic relationships and alternative models of abundance. Affluence without abundance, 2021
Central to the work is a fictional universe populated by figures such as Torkild Simonsen, Aarhus' first hip-hop mayor (1982-1997), and Marc Johnston, who relocated Denmark's capital from Copenhagen to Aarhus in 2019. Aarhus'er #1, 2025
Taniguchi of veggie-science.org, part of the daytodaydata.com project. Cosmic Carrot, 2005
The second ten minutes show a baby sleeping, curled peacefully against a blue woodlouse. Leddyrsomsorg / Arthropod Care, 2026
It opened SYMPTOM, a programme of four exhibitions held in the hospital's own rooms. Leddyrsomsorg / Arthropod Care, 2026
Seven artists selected local associations they wanted to collaborate with, moving naturally within the same field of interest but from different backgrounds. Everyday Heroes, 2019
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
In this counterfactual history, data is not extracted at scale but circulated within communities, adapting to local needs, languages, and cultural references. Diffused States (Lexington), 2025
They function as my avatars on social networks in an ongoing performative investigation. None of These Images Are of Me, 2025
The project constructed a local myth about a deformed outcast living in a park frequented by wealthy residents. The Ballehage Woman, 2009
This is a form of algorithmic seeing quite different from a human's—one that operates without narrative, hierarchy, or significance. Watershed, 2025
To launch the project, staged reality events and a guided bus tour extended its speculative narrative into the physical city. Radiant Copenhagen, 2009
The installation consisted of 3D-printed crayfish models, information screens, video material, and text displays on pink pedestals. Signal_Crayfish, 2020
The project was documented by Kevin Malcolm and received coverage in Danish art press as part of discussions about digital art and algorithmic perception. Putins Nose, 2018
The project has been discussed in Vice and elsewhere as a reflection on surveillance, aesthetics and identity in the age of algorithmic vision. Recognised Faces, 2014
Some of the objects broadcasted content directly through custom-built wireless networks. Invisible Objects, 2016
The work combines AI-generated imagery with human-written captions, forming a dispersed narrative around how such systems might emerge—from grassroots tinkering to collectively governed infrastructures and hyper-local training data. Diffused States (Vancouver), 2025
The taste of the titanium pigment which is also used as a whitening agent in milk and sugar. Qua Aqua (Beetroot Texts), 2017