Kristoffer Ørum
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
Collaborative. Most of it was made with other people.
A record-keeper. The website is the work.
Solitary. One person decides what is documented and what is forgotten.
An archive with gaps in it, kept by the person who made the gaps.
This text is generated. He decided what it generates from.
The two videos alternate: when one plays, the other rests. Leddyrsomsorg / Arthropod Care, 2026
Anders Bojen and Kristoffer Ørum investigate the hidden systems, routines, and traces that ordinary objects and personal behaviors generate, from domestic habits to browsing histories and household interactions. Day to Day Data, 2008
They have been 3d scanned, using the kind of technology one might find in one's smartphone, and subsequently 3d printed in monochrome versions using a variety of materials ranging from terracotta to granite. Brownfield Wonderland, 2022
Text panels presented both accurate biological information and fabricated technical specifications. Signal_Crayfish, 2020
Ander Bojen & Kristoffer Ørum’s contribution combined personal narrative, historical research, and speculative urban theory to question how collective experience and perception shape the city. A Subjective History of Gdańsk, 2011
As one deciphers mud from the ground that has been smeared onto the wall in the shape of geometric letterforms, dust from the building site made up of particles that were once buildings enters one's lungs. Brownfield Wonderland, 2022
The work takes up how electronic systems constantly push at our understanding of who we are, our history and context, suggesting that their constant misunderstanding provides opportunities to see the world with fresh eyes. Feathered Misconceptions, 2018
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
They function as my avatars on social networks in an ongoing performative investigation. None of These Images Are of Me, 2025
The installation drew from actual environmental concerns about invasive species whilst incorporating fictional elements related to digital communication networks and surveillance technologies. Signal_Crayfish, 2020
One was an animated video about life inside an oyster. Djurs Øhav, 2020
The exhibition was part of a series of events organised by Kunsthal for Maritim Æstetik, which also included publications, debates, food events, and bus tours. Djurs Øhav, 2020
Spray was presented as both an exhibition and performance at Friisland's Center for Performance Art during Art Matter festival. Mr. Spray, 2024
The project contributed to Epsilon Spires' mission of offering enriching programming of the highest quality while remaining accessible to diverse audiences. Mundane Monsters, 2022
Data Kroppe is a video artwork by Kristoffer Ørum, commissioned and broadcast by Danish national television (DR) and featured on DR Kulturklubben. Data Kroppe, 2017
The video combines humor, science fiction, and speculative narratives in a single continuous run through unusual and imaginative topics. Search for Carrot ExtraTerrestrial Intelligence, 2006
The exhibition was the result of several years' work with the three monsters, bringing together elements from numerous performances, exhibitions and interventions both domestically and abroad. Mundane Monsters, 2023
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
A collective of ten artists, led by Anders Bojen and Kristoffer Ørum, documented these spaces and transformed them into an interconnected web of associations, facts, myths and misunderstandings. Topographies of the Insignificant, 2010
Fed back into the internet, these phantom portraits acted as a small disturbance within systems of profiling maintained by intelligence agencies, corporations and other data collectors. Recognised Faces, 2014
The work renders the fragile and transient qualities of soap in digital animation, turning an everyday material into a dynamic, projected environment. Soap Particles, 2005
As Putin's face speaks of Russian identity in the viewer's place, the work demonstrates how digital images today do not simply document reality but actively form identity and power relations. Vladimir's Tongue, 2020
Tank Hip-Hop was the inaugural project that launched the multi-year "Freedom, Equality and Hip-Hop" series, built on the fictional relationship between the labour movement and hip-hop culture. Tank Hip-Hop, 2022
Monuments of a Fictional Past references both the speculative tradition of counterfactual history and the architectural poetics of unrealized futures. Monuments of a Fictional Past (Kraków Edition), 2025
Occasionally she would enter well-lit areas briefly before disappearing when confronted. The Ballehage Woman, 2009
Perhaps there is more hope in admitting how deeply we are all entangled. 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 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
A computer transcribes the audio files it has captured and translates them into Danish, before uploading the text to Meter’s homepage. Blind Listening, 2017
Rather than recognising faces, it was trained exclusively to see noses or beetroot-like patterns. Putin's Nose, 2019
The work was structured as a natural history museum display. 3D-printed models represented crayfish body parts modified with technological elements. Signal_Crayfish, 2020
The familiar rhythm of news consumption—fast, frictionless, designed for scanning—is replaced by movement through a spatial terrain. Watershed, 2025
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 project was presented as part of the Alternativa 2011–2012 festival, a contemporary art festival in Gdańsk that focused on experimental and interdisciplinary approaches to art and culture. A Subjective History of Gdańsk, 2011
The fragmented narrative of Coffee Lake takes place in the grey area between computer-simulated 3D graphics and human imagination. Coffee Lake, 2019
The work involved 3D-printing signal crayfish models equipped with electromagnetic sensing components. Signal_Crayfish, 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
The project operated on several levels with "lines of flight" into the city, online, and in local media. According to the Nose, 2021
"Perpetual Interpreter" featured works by Kristoffer Akselbo (DK), Andreja Andric (RS/DK), Joana Chicau (PT/NL), Rosemary Lee (US/DK), Winnie Soon (HK/DK), Anders Visti + Tobias Stenberg (DK), and Kristoffer Ørum (DK). Listening Without Ears, 2019
The goal is not to retell the news but to reorganise its visual material according to a logic other than the ones to which we have become habituated. Watershed, 2025