Kristoffer Ørum
A programmer who picks the wrong algorithm on purpose.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Most of it was built on other people's work.
Research. Somebody is going to have to examine it.
Some of it only exists as a photograph now.
Made by hand, mostly. Cut, cast, sanded, painted.
Hydrographic prints on cornstarch included text "NO pearls or seaweed in the toilets!!! they are getting clogged" (2021). Ebeltoft After The Flood, 2021
Pages were loaded sequentially or at random, with intervals that gave visitors time to recognise and reflect on the material. Auto Navigate My History, 2014
The work opens itself to failure, loss of control and improvisation, embodying these conditions rather than merely describing them. It Sings for Us of What We Might Become, 2019
Instead of being representations in a conventional sense, they functioned as productions of effects, transforming the exhibition space into an operational field based on concepts such as energy, velocity, and transformation. Coffee Lake, 2019
Rather than simply discussing these themes, the performance stages a series of unstable software experiments and semi-fictional narratives, creating a situation that is deliberately out of the performer's control. It Sings for Us of What We Might Become, 2019
The art world overflows with images of beautiful, smart, and confident artists. None of These Images Are of Me, 2025
Disbelieving Gravity is an interactive online game created for the Net.Specific exhibition Communication Paths. Disbelieving Gravity, 2013
It is not pure resistance, but rather an example of how critique and complicity inevitably coincide. None of These Images Are of Me, 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
None are permanent, but all leave residues—sonic, material, or narrative. Monuments of a Fictional Past (Kraków Edition), 2025
Once connected to a computer and powered up, the device generates multiple Wi-Fi networks. Wireless Walnut, 2018
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 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
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 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
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
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
The work was part of "Partners," an experimental exhibition at Vejle Kunstmuseum that paired seven artists with seven local associations. Everyday Heroes, 2019
The exhibition opened on 8 October 2009 and remained on view until 30 October 2009. Et Andet Rum 2, 2009
Instead, it opens up space for interpretation, uncertainty and collective speculation, asking visitors to consider alternative trajectories for urban development, cultural production, and collective organisation. Aarhus'er #1, 2025
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026
The association continued to use the museum as a venue throughout the exhibition period, demonstrating their activities alongside the artworks. Everyday Heroes, 2019
Online, these fragments are assembled pseudo-randomly into a navigable three-dimensional space. Watershed, 2025
The project was part of Nordic Sessions II, focusing on artistic "walking protocols" based on senses, local places, and movement in urban space. According to the Nose, 2021
Each monument is situated in a specific district or moment in Kraków’s layered history, blending archival poetics with infrastructural speculation. Monuments of a Fictional Past (Kraków Edition), 2025
Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014
The work utilises the props and techniques of an academic presentation in a playful and open-ended manner, examining present-day culture of classification and the potential of letting go of control. It Sings for Us of What We Might Become, 2019
At the Edge II is supported by Kulturrådet, Malmö stad, Region Skåne, and Statens Kunstfond. Even the City Dreams of Being Another, 2025
Previous iterations of Freedom, Equality and Hip-hop have appeared at Kongegaarden (Korsør), Sydhavn Station (Copenhagen), Friisland (Copenhagen Nordhavn), Survival Kit Biennial (Riga, Latvia), and F.eks. (Aalborg). Hvidovre Makes Good Times Better, 2025
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
It continues a line of work on identity, architecture and urban development begun in At the Edge I (Copenhagen, 2024), now more firmly rooted in Malmö’s local context. Even the City Dreams of Being Another, 2025
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
The project also responds critically to the historical metaphors of the human body as a model for political and social order. A Body Has Many Members, 2012
A key moment features a deliberately misspelled book title: "Plummed Past" instead of "Plumed Past" (feathered past becomes "blommet fortid" - flowered past in Danish), leading to the presentation of a talking plum. Feathered Misconceptions, 2018
The contrast is not presented as a solution but as a tool of critique—making the invisible conventions of ordinary web interfaces visible by inverting them. Watershed, 2025
The work was part of a series of four exhibitions at NLHspace from September to December 2009. Et Andet Rum 2, 2009
Opening reception held Thursday 4 November at 16:00. Ebeltoft After The Flood, 2021
During this struggle of imaginaries Spanien 19C continues to function as an art space, wedged in between building sites of what is to come and fragments of what used to be. Brownfield Wonderland, 2022
The photo album was discovered among the salvaged items when the ship was recovered. Depth Estimation, 2019
Putin's Nose worked at the boundary between object and image, examining how digital images not only register meaning but enter physical space to shape identity and power relations. Putins Nose, 2018