Kristoffer Ørum
Local. Copenhagen and Aarhus, mostly.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Mostly it is admin.
Nothing digital about it. A screen is an object, and objects sit in rooms.
This text is generated. He decided what it generates from.
Research. Somebody is going to have to examine it.
Over a period of 107 days, Anders Bojen and Kristoffer Ørum had a custom computer program rewrite the history of Roskilde in real time, from the town’s foundation by the Vikings in 980 to its present-day status as a world heritage site. Roskilde Parahistory, 2009
We are steered by algorithms that curate which images reach us. Watershed, 2025
Instead of showing only what is lost when a human is translated into data, these moments offer a new perspective. Speaker 1, 2026
The project includes works such as Detergent (Real Imaginary System) and Auto Navigate My History, which visualize, manipulate, and creatively reimagine the information generated by ordinary activities. Day to Day Data, 2008
SignalCrayfish was presented as part of the two-person exhibition "Semio-Technical Traffics" with Emily Rosamond. Signal_Crayfish, 2020
The work contrasts the artificially generated with the seemingly authentic. Monuments of A Fictitious Past, 2024
The exhibition took place in various locations throughout the ship, including the forecastle, aft cabin, engine room, and deck. Depth Estimation, 2019
The virtual history book appeared on two projection screens: one mounted on Roskilde’s main square and another inside the exhibition. Roskilde Parahistory, 2009
Especially simulations of destruction are so widespread and credible that one quickly forgets what the original physical phenomena looked like. Melting State, 2020
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
Once generated, these daily phantom faces replaced Ørum’s personal avatar across his website, social networks and other platforms. Recognised Faces, 2014
This is a subjective and living archive - it grows and shifts as time passes and the world changes.
The code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
AALBORG ER FREMTIDEN (Aalborg Is the Future) is a public art project by Kristoffer Ørum that presents an alternative perspective on Aalborg's history. Aalborg Is The Future, 2024
The same book was shown in Interspecies Futures at the Center for Book Arts, New York, in 2021. Signal_Crayfish, 2026
The two spaces integrate into each other, creating a continuous fluid motion where the boundary of the window is removed. Et Andet Rum 2, 2009
Putin's Nose began with an everyday moment: looking into a shopping bag full of groceries and noticing a beetroot that, for a moment, looked like the artist's Russian grandmother's nose. Putin's Nose, 2019
The exhibition recounted the story of a black magnetic fluid, ferrofluid, that generated forms and figures without human interaction. The End of the Universe as We Know It?, 2007
And we interpret everything through cultural repertoires of symbols and social cues. Watershed, 2025
Part of Ørum’s ongoing project "Freedom, Equality, and Hip-Hop", the work engages AI technologies (Flux.1, Stable Diffusion 3.5) to construct histories that never were. Aalborg Is The Future, 2024
I am tired of artists who speak as if they know what is best for others, instead of investigating what is wrong with themselves. None of These Images Are of Me, 2025
Diffused States was presented as part of *Data Fluencies: Tributaries*, curated by Roopa Vasudevan, which brought together artists working on the ways data can be resisted, rerouted, or reimagined outside dominant narratives. Diffused States (Vancouver), 2025
Recognized for its experimental approach, Data Kroppe is cataloged in the Danish public digital archive Vores Kunst, which preserves commissioned television art. Data Kroppe, 2017
In Aalborg, at Nordkraft the project was hosted in a former power plant turned cultural venue. Mundane Heroics, 2019
These scenes combined role play, sculpture, and performance into temporary worlds accessible to anyone passing by. Mundane Heroics, 2019
The work takes up how computer technology mediates our relationship to the physical world, creating hybrid zones where digital simulation and material reality intersect. Coffee Lake, 2019
The launch (December 7, 2024) consisted of a performative city walk, a community meal, and a concert with Christian Høgh, organized with f.eks. and supported by multiple cultural partners. Aalborg Is The Future, 2024
Topographies of the Insignificant is a web-based project from 2010 presenting a series of micro-topological maps of ultra-local spaces in five European cities: Berlin, Bratislava, Luxembourg, Rome and Vienna. Topographies of the Insignificant, 2010
Why create images that place myself in problematic and humorous situations? None of These Images Are of Me, 2025
Each contribution provided insight into the often hidden or indirect references shaping contemporary art. Auto Navigate My History, 2014
The exhibition posed a paradox about how we can become accustomed to living in a constantly changing world with technological trends that supplement, expand and reinforce reality with extra layers of information. Mundane Monsters, 2023
Over the past year, I have created a series of self-portraits using locally run AI. None of These Images Are of Me, 2025
The Kolding Creature was unveiled on 30 October 2021 as part of a Kunstwalk featuring multiple artists working in Kolding city centre. The Kolding Creature, 2021
Rather than presenting the institution as a fixed architectural entity, the work represents it as an evolving body defined by the everyday activities, lessons, evaluations, and exchanges taking place within and around it. A Body Has Many Members, 2012
The work is presented as a factual lecture, framed through the perspective of a former shipyard worker experiencing Alice in Wonderland Syndrome (AIWS), a neurological disorder that distorts the perception of body size and spatial scale. A Subjective History of Gdańsk, 2011
Through these monstrous and bizarre creatures, the work addressed our relationship to more familiar creatures and digital systems that we share the modern technological world with. Mundane Monsters, 2023
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
In their new form they remain recognisable both as having been a part of structures that no longer exist and as potential building blocks for future structures. Brownfield Wonderland, 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
Bænkebider betragtere (Woodlouse Observers), the title of the ones placed around the hospital. Leddyrsomsorg / Arthropod Care, 2026