Kristoffer Ørum
Research. Somebody is going to have to examine it.
The website keeps itself up to date. He does not.
Not research. The works were made first and explained afterwards.
Works with animals that have not agreed to it.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
Mostly it is admin.
The exhibition was the second presentation by OXER and was supported by Statens Kunstfond. 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
Everyday objects were recognisable yet altered. Mundane Heroics, 2019
This reordering not only alters the image itself but also reshapes how it must be encountered. Watershed, 2025
By constructing new faces from parts of the most widely circulated images online, Recognised Faces created a snapshot of the constant data collection and algorithmic recognition happening daily on the internet. Recognised Faces, 2014
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
The faces produced through this process often appear distorted or uncanny to human eyes, yet they retain a resemblance to mainstream ideals of beauty. Recognised Faces, 2014
The project replaced advertising posters at Sydhavn Station with what appeared to be an information campaign about the development and dissolution of the welfare state from 1872 to 2001. Frihed, Lighed Og Hip-Hop, 2023
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 work departed from the exhibition space but moved as performative action into urban space, with an online component extending the offline event. According to the Nose, 2021
On YouTube, the video “Ballehage Woman Sighting” shows the figure moving through Marselisborg Forest. The Ballehage Woman, 2009
Historical facts, such as names of kings or weather reports, were interwoven with stories of the Rosicrucian Order, royal lizards, and extraterrestrials landing on the outskirts of town. Roskilde Parahistory, 2009
The virtual creature could be experienced through mobile phones and tablets using augmented reality technology. The Kolding Creature, 2021
According to the Nose was presented over two days (10:00-17:00 CET) as part of performance protocols' second Nordic Sessions, alongside works by Mette Kit Jensen and Tomas Skovgaard. According to the Nose, 2021
The project used artificial intelligence not as a thinking entity, but as a tool filled with errors and biases that could inspire new ways of thinking. Frihed, Lighed Og Hip-Hop, 2023
The museum basement acted as a “rabbit hole,” filled with props, relics, tables, and charts that grounded the fictitious world. Game Continent, 2010
Enigmatic posters appear in public spaces where these structures were never erected, and a website hosts an archive with weekly updates on images and stories. Monuments of A Fictitious Past, 2024
The exhibition opening coincided with Brattleboro's monthly Gallery Walk and was followed by an outdoor screening of skateboarding and surfing documentaries. Mundane Monsters, 2022
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
The work was part of "Radius Kolding," an artistic research project inspired by Dutch practices of sending artists into a specific radius to investigate local activities and create new artworks. The Kolding Creature, 2021
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
The exhibition text calls them blind creatures watching over the exhibition and the people in it. Leddyrsomsorg / Arthropod Care, 2026
At the same time, I know how effective these images are. None of These Images Are of Me, 2025
The Kolding Creature was a virtual three-dimensional creature created from 3D scans of local Kolding pets and conversations with their owners. The Kolding Creature, 2021
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
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
The work consists of more than 30 screens distributed throughout the campus, each showing a real-time visualisation of the institution’s invisible infrastructures. A Body Has Many Members, 2012
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
The system does not distinguish between what a photojournalist might frame as a central subject and what might appear incidental. Watershed, 2025
Diffused States was part of the Data Fluencies exhibition curated by Roopa, on the diverse ways artists engage with, resist, or reimagine data. Diffused States (Boston), 2025
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
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
The same work was shown at Keramoda, Lønstrup, in 2021. Affluence without abundance, 2025
Presented as a manual for the Scope 3000, it included both a personality test based on pattern perception and a how-to guide for the device. The Pattern In Us All, 2007
All 3D-printed in R-PETG and painted with urethane. Leddyrsomsorg / Arthropod Care, 2026
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
At that time, Denmark experienced economic growth and falling unemployment, and society was marked by optimism and collective visions of a better future — hopes that are harder to find today. Hvidovre Makes Good Times Better, 2025
The same book was shown in Interspecies Futures at the Center for Book Arts, New York, in 2021. Signal_Crayfish, 2026
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 Wave made by Anders Bojen & Kristoffer Ørum is a computer-animated video installation depicting a stormy sea with the tower of Copenhagen City Hall in the background. The Wave, 2009