Kristoffer Ørum
Collaborative. Most of it was made with other people.
A sculptor. Jesmonite, foam, clay, 3D-printed plastic.
A PhD student. Human-AI Collaboration, Copenhagen University, until 2028.
A lot of it is waiting for a render to finish.
A teacher who keeps a studio in order to have something to teach from.
Nothing digital about it. A screen is an object, and objects sit in rooms.
The selected sites appear to lack history or unique features, yet they contain complex layers of information and hidden connections. Topographies of the Insignificant, 2010
I do it because I see a critique of the world that too often points outward, as if one could speak from a neutral and elevated place. 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
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
A multidisciplinary team including architects, artists, designers, engineers, musicians and literary theorists collaborated with Bojen and Ørum to jointly create this immersive vision. Radiant Copenhagen, 2009
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
By engaging with the game, players experience how facts and assumed truths can be challenged, restructured and rearranged in playful and experimental ways. Disbelieving Gravity, 2013
The project was based on historical facts and scientific data. Djurs Øhav, 2020
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 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
It is based on the belief that there is no inevitability to the current process of gentrification, it is simply one choice taken out of a million other possible ways we could develop our cities. Brownfield Wonderland, 2022
It weaves together factual history, fiction, and AI-generated imagery to imagine a meeting between hip-hop’s pursuit of individual freedom and the labor movement’s collective struggle for better conditions. Aalborg Is The Future, 2024
Everyday objects were recognisable yet altered. Mundane Heroics, 2019
On the other hand, these systems are still trained on global datasets full of bias, stereotypes, and inequality. None of These Images Are of Me, 2025
Staged as a series of narrative “figures,” the project invents and documents civic architectures that never existed—but perhaps could have. Monuments of a Fictional Past (Kraków Edition), 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
On the one hand, it can be seen as an attempt to resist the grip of major platforms, their data collection, and their opaque models. None of These Images Are of Me, 2025
The work was exhibited alongside Emily Rosamond's work on historical communication systems, from ancient oracles to wartime frequency-hopping technologies. Signal_Crayfish, 2020
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 code sets the procedure, but the visual outcomes remain emergent and unpredictable. Watershed, 2025
Mundane Monsters was presented as part of Epsilon Spires' 2022 programming, which included 68 events focused on bringing cutting-edge creative work from around the world to southern Vermont. Mundane Monsters, 2022
The work involved 3D-printing signal crayfish models equipped with electromagnetic sensing components. Signal_Crayfish, 2021
They are the most revealing parts of the process. Speaker 1, 2026
By juxtaposing the logic of role-play with the conventions of the museum, *Game Continent* created a moment of disorientation. Game Continent, 2010
In the post-totalitarian context of Latvia, where memory is often manipulated for political purposes, the work offers a reminder that the past is not fixed and demonstrates the fluidity of historical narratives. Monuments of A Fictitious Past, 2024
A protestor’s sign, a celebrity’s face, a patch of sky, or a piece of rubble—all are treated as equivalent grayscale image data to be segmented and archived. Watershed, 2025
The exhibition featured wall art contributions by artist Anders Reventlov alongside AI-generated narratives. Mr. Spray, 2024
It positions deliberate misunderstanding as a productive alternative to seamless digital communication and reliable interpretation systems. Feathered Misconceptions, 2018
These hollow approximations of the original fragments are half-remembered memories made tangible. Brownfield Wonderland, 2022
The headline read "The Inscrutable Face of Russia." This sparked reflections on how much difference there actually is between the paranoid gaze of computer surveillance technologies and that of human beings. Putin's Nose, 2019
In this scenario, data does not flow through opaque corporate pipelines, but diffuses through neighbourhood workshops, shared servers, and informal archives. Diffused States (Vancouver), 2025
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
Signal_Crayfish was commissioned as a book work for "Interspecies Futures ," the first survey of bookworks by international practitioners from bio-art and speculative design fields. Signal_Crayfish, 2021
The installation featured speculative scenarios about living arrangements including large oyster habitations. Ebeltoft After The Flood, 2021
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 exhibition Coming From took place from 23 August to 14 September 2014, with an opening on 22 August. Auto Navigate My History, 2014
The work featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
The work was created for the group exhibition "Opløsning af Det Private Arkiv" aboard the ship Svartlöga in Copenhagen. Depth Estimation, 2019
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
Being your own record-keeper means accepting these gaps and changes.