Kristoffer Ørum
A documentary practice. Every work here has an address and a date.
A teacher who keeps a studio in order to have something to teach from.
Science fiction, set last week.
An artist who makes things up about real places.
A portraitist. None of the portraits are of him.
Some of it only exists as a photograph now.
The project contributed to Epsilon Spires' mission of offering enriching programming of the highest quality while remaining accessible to diverse audiences. Mundane Monsters, 2022
The project examined the invasive signal crayfish species currently displacing native Danish freshwater crayfish. Signal_Crayfish, 2020
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
Participants staged live tableaux in pedestrian zones and market areas, allowing encounters with everyday passersby. Mundane Heroics, 2019
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 project exploited technological imperfections to imagine an improved future by manipulating AI's original commercial intent. Frihed, Lighed Og Hip-Hop, 2023
Aarhus'er #1 doesn't offer a single reading of what was or what could be. Aarhus'er #1, 2025
At the hospital: Gør din pligt og kræv din udredning (Do Your Duty and Demand Your Assessment) and Diagnose gør stærk (Diagnosis Makes You Strong) in the corridor, Frihed, lighed & symptom (Liberty, Equality & Symptom) in the waiting room. Leddyrsomsorg / Arthropod Care, 2026
Video elements included a deep fake sequence featuring politician Pernille Vermund discussing invasive species. Signal_Crayfish, 2020
Instead of treating these models as definitive or universal, the project approaches them as partial and provisional—open to reinterpretation, modification, and play. Diffused States (Vancouver), 2025
I am also tired of so-called critical art being presented through the same visual culture as fashion: the artist in their beautiful home, in front of their impressive bookshelf, or in their picturesque studio. 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
Signal Crayfish was presented as part of "Monstrous Machines," an exhibition on why new technologies provoke fear and how this impacts our perception of technology. Signal_Crayfish, 2021
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
These precedents inform an imagined shift towards AI systems that are modest in scope, but deeply embedded in the cultures that maintain them. Diffused States (Vancouver), 2025
The project involved citizen participation in creating the final artwork, with local residents contributing both their pets' physical forms and personal stories. The Kolding Creature, 2021
Mundane Monsters was an interactive digital multimedia exhibition that transformed the gallery at Epsilon Spires into a walk-through experience about the modern relationship between nature and culture. Mundane Monsters, 2022
The machine's interpretation is not just a poor copy of reality; it creates a new representation with its own logic and uncanny aesthetic. Speaker 1, 2026
The exhibition allowed passersby to experience the animation in the context of the public street, at the junction of site-specific art and urban space. Et Andet Rum 2, 2009
"Mundane Monsters" brought together three speculative and humorous everyday monsters in an installation at the artist-run exhibition space Bonamatic in Copenhagen. Mundane Monsters, 2023
Or the massive folk festival held in Fælledparken the day graffiti was legalised? Frihed, Lighed Og Hip-Hop, 2023
The project was documented in the publication "Radar Contemporary: Extensions vol I II III" by Dr. Signal_Crayfish, 2021
The project served as the conceptual foundation for later work on how artificial intelligence could be used to create alternative historical narratives about Danish society. Tank Hip-Hop, 2022
Local rumours, past dreams, and forgotten figures merge with the town’s documented history across media: an interactive video installation, posters, sound works, and music. Hvidovre Makes Good Times Better, 2025
The 3d printed copies of fragments from the construction site have become a sort of digital “ghosts”. Brownfield Wonderland, 2022
Diffused States picks up this lost thread and reroutes it through urban counterculture, where spray-painted circuits become speculative carriers of three-state logic. Diffused States (Boston), 2025
Ørum's installation used speech recognition technology integrated into sculptural objects that resembled common household items. Listening Without Ears, 2019
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
Each day, the system generated a new composite face from images found via Google’s lists of top search terms. Recognised Faces, 2014
The title refers to multiple senses of “diffusion”: the technical process of image generation; the social circulation of tools and knowledge; and the physical dispersal of small-scale devices across different environments. Diffused States (Vancouver), 2025
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
A third video, A Song for Ming, was a karaoke track by Kristoffer Ærørum with music and performance by Josefine Struckmann. Djurs Øhav, 2020
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 system operated continuously throughout the exhibition, looping through the history without direct interaction. Auto Navigate My History, 2014
The exhibition borrows its title from 1960, when the Social Democratic Party campaigned under the slogan “Make Good Times Better”. Hvidovre Makes Good Times Better, 2025
It considers what AI might look like if it evolved through neighbourhood initiatives, recycled consumer hardware, and community-specific datasets, moving at the pace of shared maintenance rather than commercial urgency. Diffused States (Lexington), 2025
The installation combines mathematical structures, popular psychology, video, narration, sound and custom-designed software. AutoBiography, 2011
It was coded using the then-ubiquitous Flash interactive format. Topographies of the Insignificant, 2010
They contribute to a narrowing of bodily representations that is far more damaging in the long run than strange AI slippage. None of These Images Are of Me, 2025
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