Kristoffer Ørum
A lot of it is waiting for a render to finish.
Solitary. One person decides what is documented and what is forgotten.
This text is generated. He decided what it generates from.
Collaborative. Most of it was made with other people.
Works with animals that have not agreed to it.
Not local. Boston, Vancouver, Riga, Kraków, Oberhausen, San Francisco.
Social media platforms like Facebook transform faces into points in coordinate systems, and from these coordinates people are classified as terrorists, defined as specific consumer types, or deemed irrelevant. Putin's Nose, 2019
The machinic as a format for both production and display runs as a common thread through his practice. Coffee Lake, 2019
I believe a stronger foundation for community lies in a shared recognition of vulnerability. None of These Images Are of Me, 2025
Affluence without abundance (2021) shown in Nyt Lys, a group exhibition at Sophienholm in Kongens Lyngby, 19 November 2025 to 25 January 2026. Affluence without abundance, 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 virtual history book appeared on two projection screens: one mounted on Roskilde’s main square and another inside the exhibition. Roskilde Parahistory, 2009
The work examines the autobiography as a cultural phenomenon and the staging of artistic identity, setting up a tension between the impersonal logic of systems and the personal search for self. AutoBiography, 2011
Generated with a Chinese variant of the Huyuan algorithm, the images include intentional misreadings of the runic inscriptions, echoing centuries of translation, loss, and projection. The Good, the Lost, and the Beautiful, 2025
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
Players are encouraged to question the presumed truth of gravity and their own assumptions, gradually adopting a new perspective through interactive challenges. Disbelieving Gravity, 2013
Simultaneously with the physical performances, stories of The Ballehage Woman were disseminated across media including a website, YouTube video, Google ads, newspaper articles, and emails. The Ballehage Woman, 2009
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
At the hospital, Untitled — five photographs and an orange chalk drawing in aluminium frames along the corridor, from the perspective of somebody waiting. Leddyrsomsorg / Arthropod Care, 2026
AI makes it possible for me to be several people at once. None of These Images Are of Me, 2025
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 featured a large, curved canvas onto which the magician's hands were projected. Sucker Trick, 2017
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
The exhibition consisted of a series of household objects and sculptural forms recreated in unusual materials and fitted with custom electronics. Invisible Objects, 2016
These precedents inform an imagined shift towards AI systems that are modest in scope, but deeply embedded in the cultures that maintain them. Diffused States (Vancouver), 2025
These objects were then animated through role play and staged as collective tableaux, blurring the line between workshop and public presentation. Mundane Heroics, 2019
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
"It Sings for Us of What We Might Become" is a specially commissioned performative lecture presented as part of the symposium "ScreenShots: Desire and Automated Image" at Kunsthal Aarhus. It Sings for Us of What We Might Become, 2019
It is in this indeterminate time and space the Brownfield Wonderland exists as it attempts to reimagine the post-industrial brownfield. Brownfield Wonderland, 2022
Strange audio players and distorted timelines hint at other ways things could have turned out, with hip-hop positioned not as a fixed genre or imported form, but as a set of evolving principles. Aarhus'er #1, 2025
Putin's Nose was a multi-year project that sought to turn surveillance systems' simplified identity categories and tools against themselves. Putin's Nose, 2019
This does not mean that vulnerability is shared equally—some bodies are more exposed than others—but that we might begin in a recognised mess rather than in ideals of purity. None of These Images Are of Me, 2025
Rather than proposing a return to older models, Watershed treats this uncertainty as an opportunity: a chance to experiment with new arrangements of familiar material, to test how different structures shape perception. Watershed, 2025
Geometric shapes emerge from the boxes, forming a complex sculptural environment. In a Dark Room/a Storm in a Coffee Cup, 2004
The project began the process of using advanced imaging technology and AI as fabulation techniques to create speculative scenarios where the labour movement and hip-hop culture intersected. Tank Hip-Hop, 2022
Exhibition documented by photographer Mikkel Kaldal. Ebeltoft After The Flood, 2021
Signal_Krebs was an installation work presented in the group exhibition "Navigeringer – På kanten af en verden i forandring". Signal_Crayfish, 2020
The virtual creature remained accessible in the Borchs Gård area until 1 March 2022, allowing ongoing public engagement with the augmented reality artwork. The Kolding Creature, 2021
These landmark positions were then used to align, cut and combine eyes, noses, mouths and jawlines into a new synthetic portrait. Recognised Faces, 2014
The city of Aarhus serves as both source and subject, remixed through the lens of local imagination and global street culture. Aarhus'er #1, 2025
The project extended across the museum basement, a nearby grocery store, and surrounding public lawns. Game Continent, 2010
It questions the implications of surveillance, the accumulation of digital traces, and the way ordinary routines are recorded and interpreted. Day to Day Data, 2008
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
Yet it is also a paradox: even though AI produces many versions of me, they all point back to a recognisable “I.” This double movement—dissolution and reinforcement—is part of what interests me. None of These Images Are of Me, 2025
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
Visitors could connect their phones to new networks appearing in the gallery space and receive fragments of text and video. Invisible Objects, 2016